Features
My father, the unforgettable Premnath Moaraes
Birth centenary fell on Jan. 31
by Pradeep Moraes
Singer, Songwriter, Lyricist.
Actor, Film Director, Scriptwriter, Producer.
Weightlifter, Wrestler, Footballer, Cricketer, Athlete, Gymnast
Journalist, Sports Editor, Creative Head & Copywriter.
Commentator, Compere and Silver tongued Orator,
Believe me, the list goes on.
Renaissance Man? , Bohemian Artist? Yes to both, but to me, most importantly, the gentlest human being one could hope to meet, and the most devoted husband to my mother and loving father my sister Rehani or I could ever have hoped to have .
Premnath Joseph Moraes – born Joseph Peter Moraes Fernando on January 31, 1923, was of solid middle class stock, who carried his simple and devout Catholic faith right through life.In many ways he epitomized the essence of the very best of the Benedictine trademark ,with traits and talents that wove a rich tapestry of Arts, Sports, Humanity, Simplicity and a Christianity that was lived rather than preached.
Abundantly blessed with talent and versatility, he was however trusting to a foolish degree and unfailingly gullible so as to be a target for exploiters and worse, resulting in the vicissitudes of economic circumstances. So it was not his largesse that begets the incredible goodwill he has left as his legacy to his family, but rather a tribute from people of all walks of life to Premnath the man.
Talking of all walks of life, my father trod many paths; a short outline of which I hope will make good reading.
Joining the Police force soon after school , he was seconded to the CID and later advised to leave by a senior police officer after having spoken openly at the funeral of a colleague who had been gunned down when leading an unarmed raid on a den of vice.
Thereafter he sought and secured a position as a reporter with the Times of Ceylon after an interview with its Editor, Frank Moraes ( later Editor of the Times of India and father of the poet Dom), who reminded him that “the coincidence of our surnames will remain just that! “
Leaving the Times of Ceylon building , Premnath was almost knocked down by a vehicle driven by his friend Sangare Sellamuttu (later Mayor of Colombo ) with whom he got chatting and informed him of the job he had just landed . “What nonsense ” said Sellamuttu , “with your looks you should be in films . Let me introduce you to Sir Chittampalm Gardiner. ” Good looks he had, no doubt about it, but rather than me being accused of understandably favourable bias let me quote an excerpt from a long , eloquent and emotional appreciation by the late, great Gamini Fonseka:
“On those extra broad shoulders
rested that handsome head
of a barrel chested man
with a wasp like waist
His features stirred envy
In the hearts of “stars” of his day. “
The shoulders were actually very broad prompting the late T.B. Illangaratne (author and later Govt. Minister) to describe the hero in one of his books (in Sinhala) as having a moustache like Ronald Colman, and shoulders like Premnath Moraes.
Getting back to Sir Chittampalan (also an old Ben) , the great man was too busy to see my father that day and instead told him “meet me in Madras on Monday morning” (this was Friday) leaving the young applicant to find his own fare – perhaps a test of mettle.
Young Premnath (a name he then assumed ) was signed on as an actor and thus started a romance with the film industry which lasted over 50 years ( from 1947 to 1998 , from starring in ” Kadawanu Poronduwa “ (also known as Broken Promise) the second Sinhala film to be produced, to Demodara Palama, circa 1997. Warada Kageda and Kapati Arakshakaya in the late forties were followed by several others .
This was followed by a stint in Shanthiniketan the Centre of Arts north of Calcutta , the stay which was undertaken for purely aesthetic reasons, gave my father the most pleasant memories among which was seeing and hearing Maestro Ravi Shankar perform for over a hundred cumulative hours.
The long visitation was in the company of his close friend Shanthi Kumar Seneviratne (Star and Director of Ashokamala – the first Sinhala film). Though they both learned classical dance in Shanthiniketan, my father unlike Shanti was never a fan of ballroom dancing – much to the chagrin of Rani , my mother.
From Shanthenikitan, Premnath moved to Bombay where he was in the famed Raj Kapoor/Nargis circle , and was close friends of Dilip Kumar (Mohamed Yusuf Khan), and closer still to one of the most beautiful Hindi actresses of the time, whose gift to him – a gold , Universal Genève watch , I wear to this day.
Back to Ceylon , and the man took up to singing, was contracted to the HMV label (His Masters Voice) , recorded solo, and with Latha (Walpola) and Chitra (Somapala), of the many recordings perhaps the most famed are “Sri Lanka Rani Meniye” ( the de facto Catholic anthem of Sri Lanka) and “LakDeepe” .
Mellifluous to a high degree, his voice had the unusual combination of mellowness and power, in fact we have a photograph of my father recording “5 ths” in a studio a full 20 ft away from the “mike”.
Here, permit me to express a son’s view albeit emotionally flavoured ; I truly believe that no one could sing Olu Pipila or Kokilayane Kolila Nade, better . Incidentally the great Sunil Santha who immortalized these songs was also a Ben .
The Sri Lankan Nightingale Rukmani Devi once told me that she and her husband Eddie Jayamanne (both of whom were very close to him) used to badger my father to sing the 1939 classic “Over the Rainbow ” at every possible opportunity, and redoubtable fellow Benedictine Ben Navaratne ( argued to be the best wicketkeeper Sri Lanka or Ceylon ever produced) used to always ask my father to promise to sing ” O Danny Boy ” over his grave; very poignantly Ben Navaratne and Premnath Moraes are buried within yards of each other at the Jawatte Cemetery.
On to 1953. Production Assistant (titles were not grandiose in those days ), and Second Unit Director for Elephant Walk , directed by William De Telle , the son in law of the legendary Cecil B De Mille ( of Ten Commandments Fame ) .
Starring Vivien Leigh, Peter Finch and Dana Andrews – all Oscar Winners – (Peter Finch and Dana Andrews later, Vivien had already won hers for Streetcar named Desire). Living at the Galle Face Hotel for a full nine months, interspersed with long stays at up country locations, my father enjoyed close interaction with the best acting talent the world had to offer, with the huge bonus of frequent visits from Laurence Olivier, probably the most acclaimed Thespian and Actor who was obliged to check on his wife Vivien, who succumbed to a nervous breakdown within the shooting period. Many were the occasions when the “master” himself was coerced to perform Hamlet to a private audience,
What is remarkable (given that this was 1953) is that Vivien’s condition was recognized , possible inability to proceed was anticipated, and EVERY scene was shot twice, one with Vivien Leigh, one without. So upon Vivien being unable to proceed with the film, the images of Elizabeth Taylor were superimposed – without her ever having visited Ceylon. Not bad for 1953!
Two short stints as Second Unit Director for United Artists “Captain’s Table” and “Purple Plains” which starred Gregory Peck , on to India where he was Production Manager at Gemini Studios in Madras, where most of the Sinhala Films at the time were edited, dubbed and produced. Coincidentally his uncanny look alike, the Tamil film star Gemini Ganeshan, got his eponymous name through association with this studio.
Wide varied and versatile though my father’s exposure to the celluloid world, in my opinion his single most significant to the Sinhala Cinema were his unremitting efforts to get Gamini Fonseka into it, culminating in a successful introduction to Lester James Peiris who brought Gamini into Rekawa in a non starring role. The rest – to use a cliché – is history!. Gamini never lost an opportunity to credit my father (whom he referred to as his “guru “) with his entry to films, and Lester has also endorsed the fact over the years.
Many are the others whom Premnath introduced and inducted into the Film world, stars, cameramen, sound artists, script writers, editors , music directors et al, and many are the pioneering developments he introduced to Sinhala cinema.
A classic example is Sri 296 which he directed in 1959, wherein he provided Henry Jayasena , Joe Abeywickrema and Punya Heendeniya with their first “starring ” roles (all had played small roles earlier), introduced the very beautiful Zeena Valencia to whom he attributed the screen name “Sumitra” (a name she retained for life) who then went on to marry Gamini Fonseka.
Sri 296
is considered a watershed in Sinhala Cinema with the introduction for the first time of an all Ceylonese crew (film crew up to that point were from India) and also for the introduction of two full colour sequences under the mastery of cameraman A.V.M . Vasagam
Sigiri Kashyapa
followed circa 1961 with Gamini in the starring role and Shane Gunaratne as Migara. Scenes from the filming of this film form some of my earliest, distinct, memories with sword fighting being practiced in the main hall of our home at Colpetty (this house had previously been perhaps Ceylon’s only synagogue and an extremely large mosaic floored circular hall). And the equestrian escapades of the horsemen who were trained by Ranjith Dahanayake , later of Hermes International fame . Space does not permit a fair recording of his film career but mention might be made of his roles in Kathuru Muwath, Priyanga (where he played Vijaya Kumaratunga’s father ) and Hitha Honda Minihek where he at Gamini’s insistence played a virtual real life role as Gamini’s “finder” and mentor.
Association with Tyronne Fernando (Minister) and Manik Sandarasaga led to my father writing and scripting the rather ribald Colomba Sanniya (Coming Sweet). He also was the “ghost writer of the Hollywood Production of God King , and to use the term employed by that great Ben, Ravindra Randeniya who was the star of the film – “the de facto director” of much acclaimed Kalu Diya Dahara .
Ironically, given his long involvement with Sinhala cinema, Premnath won the most kudos , and international and local acclaim for directing the Tamil Film “Vaadai Kaatru” in the seventies, shot on the arid dunes of Pesalai. As recently as on September 26, 2015, that redoubtable and insightful journalist , DBS Jeyaraj referred to Vaadai Kaatru as “probably the best Tamil Film” ever made in Sri Lanka .
(To be continued next week)
Features
The significance of “Control” in foreign relations
Foreign Relations are all about “Control” particularly in the context of Relations between Major Powers such as the USA, China and India and small sovereign States such as Sri Lanka. While in the case of such relations, benefits to both parties are inevitable, the need to do so is invariably driven by the national interests of the Major Powers because their interests far outweigh those of small States. This mismatch of interests is what calls for “Control” of relations by Major Powers
The advice to Sri Lanka by Foreign Relations experts thus far has been to balance challenges arising from such Relations, not realising that the compulsions driven by the interests of Major Powers are such that balancing by itself does not have the needed capabilities to overcome the consequences arising from Major Power Rivalries; a fact evidenced by the recent Middle East war.
For instance, the need for the USA to strengthen the capabilities of the Sri Lankan Navy is driven by the strategic location of Sri Lanka since it is the gateway to the Indo-Pacific. Notwithstanding such motivations, it cannot be denied that the infrastructure provided to Sri Lanka’s Navy was handy to meet internal challenges as it was during the final stages of the Armed Conflict to destroy arsenals of the LTTE out at sea and the capacity to meet both external and internal threats to and within Sri Lanka.
Similarly, one of China’s primary interests is its Belt and Road Initiative. Towards this end, China has established a solid foot print in Sri Lanka by building and owning solid infrastructure projects for 99 years and more, if it is in China’s interest. However, although benefits from such projects cannot be denied, the open question is whether their scale was established to suit China’s interests or sought by Sri Lanka to suit Sri Lanka’s interests. For instance, the offer to build a 200,000 barrels a day Refinery by Sinopec of China has more to do with serving China’s interests, in view of the decision by the Sri Lankan Government to expand the Refinery at Sapugaskanda to 100,000 barrels a day.
In the case of India, the issues are more complex arising from Sri Lanka’s proximity to India, the cultural and historical heritage shared by both and the presence of the Tamil community in both countries. Consequently, India is extremely conscious of the need to keep a sharp eye and “Control” developments taking place in Sri Lanka in respect of Sri Lanka’s relations with Major Powers. This concern is driven by the notion that the territorial security of India is dependent on Sri Lanka’s Relations with Major Powers; a concern that arises from India’s past territorial history where the territory of India was transformed from a motley group of Princely States into one unified sub-continent and then partitioned into two Nation States under the British Raj. Consequently, the present territory of India has been in existence only since its independence from Colonial Rule in 1947. Hence, the fear of history repeating itself is driven by internal compulsions and by external interventions.
US – SRI LANKA RELATIONS
Against the background of Geopolitical interests presented above, Sri Lanka adopted the Policy of Neutrality in 2019 and this Government continues to exercise and live by its Internationally recognised principles, as it did when Sri Lanka denied landing rights to US Aircraft during the Middle East conflict. Sri Lanka’s Foreign Minister stated that Sri Lanka was “always neutral” when he met the US Assistant Secretary of State for South and Central Asian Affairs to convey Sri Lanka’s appreciation for the assistance rendered to procure fuel during the Middle East crisis and for the maritime vessels and aircraft gifted to Sri Lanka (Daily News, June 23, 2026).
In the meantime, The Island has reported that the “US declares SLN its Indo-Pacific Partner” (June 25, 2026). A statement issued by the US Embassy in Colombo quotes the Assistant Secretary of State as having stated: “Today, we announced the delivery of US satellite communication technology to the Sri Lankan Navy, our Indo-Pacific partner: This secure, real-time connection—representing a transformational upgrade for the Sri Lankan Navy-– will be available aboard their entire fleet of offshore patrol vessels…” (Ibid).
There is no doubt whatsoever that these assets would collectively boost the capabilities of the SL Navy to “strengthen maritime domain awareness, improve operational coordination, support emergency response, help interdict vessels engaged in illicit trafficking etc.” (Ibid). However, the unilateral declaration by US that the SL Navy is a “Indo-Pacific Partner” of the US has NO validity unless such a declaration has the approval of the SL Government. Furthermore, such an approval by the SL Government would compromise its Policy of Neutrality to which the country has pledged.
Therefore, the declaration should be accompanied with a caveat, that being, that the partnership should NOT extend to the entirety of the Indo-Pacific but be limited to Sri Lanka’s Exclusive Economic Zone (EEC). It is only then that the SL Government is Internationally entitled to exercise its rights as a Neutral State, namely, to protect its territory under the UN Law of the Sea. Furthermore, considering the extent of Sri Lanka’s EEC in relation to the extent of the Indian Ocean, the Partnership would be proportionate.
CHINA – SRI LANKA RELATIONS
China’s interest is to consolidate its interests in its Belt and Road Initiative. Towards this end it has attempted to exercise “Control” over Sri Lanka by offering infrastructure projects of a scale that benefits China rather than Sri Lanka as evidenced by the example of the offer by Sinopec Refinery cited above. This example demonstrate that Sri Lanka should be faulted for accepting projects offered without question and when questioned, based on local evaluations of scale to meet Sri Lankan needs as in the case of the existing Refinery at Sapugaskanda, the scale of projects become significantly less. The lesson to be learnt from this experience is that no project offered should be accepted without question in respect of its suitability to Sri Lanka in all respects, if Sri Lanka is not to become a victim of self-inflicted debt traps.
INDIA –SRI LANKA RELATIONS
How India “Controls” Sri Lanka is by making Sri Lanka politically and economically vulnerable and dependent on India, not only through physical connectivity, but also by being a handmaiden in internal political arrangements where power is devolved to Provinces that are a threat to Sri Lanka’s territorial integrity (13th Amendment) and also by focusing development that benefit the Tamil community in Sri Lanka. The end result is to keep relations between communities in Sri Lanka on the “boil”, much against the interests of Sri Lanka to function as a united Nation State.
The proposal to connect Sri Lanka with India with under-water pipelines to transfer petroleum products from the Middle East and Power Grids would make Sri Lanka vulnerable and dependent on India as Germany was with Natural Gas from Russia when Nord-Stream I and II were sabotaged. Similarly, the road access through a Land Bridge connecting India and Sri Lanka would legalize access between the two countries that today takes place illegally because of the disparity in wages and livelihoods.
Despite such possible outcomes, there is a concerted effort by individuals and a body of NGOs who are of the opinion that it is in the best interests of Sri Lanka for Sri Lanka to hitch its wagons to the rising star of India. Others are grateful to India as the first responder to Sri Lanka at times of need, mindless of the weekly destruction of Sri Lanka’s marine resources etc. caused by thousands of fishing boats from India resorting to illegal fishing practices whose value over the years are beyond assessment.
CONCLUSIION
The reason for the recent conflict in the Middle East is all about “Control” of Nation States by Major Powers in pursuit of their Geopolitical interests. The need to “Control” Sri Lanka by the US is because of Sri Lanka’s location to the Indo-Pacific and by China because Sri Lanka is a vital link to its Belt and Road Initiative. On the other hand, Relations with India are influenced and guided by India’s obsession with the sustainability of its territorial integrity because that is what makes India a Major Power. The survival of Sri Lanka in such a complex background depends on how astutely Sri Lanka protects its Policy of Neutrality.
By Neville Ladduwahetty
Features
“Sir”: A prefix or a suffix in Sri Lanka?
The word “Sir” is classically and linguistically associated with Great Britain and His Majesty’s English Language. As an esteemed prefix, it generally refers to a Knight, but very strictly speaking, that is perhaps a rather narrow and restricted synonym. While a Knight of the British Empire is the most common type of knight people encounter today, Great Britain actually has several different orders of knighthood, as well as an ancient rank that does not belong to any such order at all.
When someone is dubbed a knight in Britain and referred to as “Sir” X, Y or Z, they generally fall into one of three categories. The first is a Knight Bachelor, undoubtedly the oldest rank. This is the most common form of knighthood awarded for public service, arts, or science. In that context, one should think of Sir Elton John, Sir Paul McCartney, or Sir Ian McKellen. It is not a part of an explicit “Order”, like that of the British Empire. It is the oldest mechanical form of knighthood, dating back to the 13th century under King Henry III. The recipients are simply styled as Sir, followed by the first name, such as Sir Ian, without any post-nominal letters like KBE or OBE attached to the end of their name.
The second is a Knight Commander of the Most Excellent Order of the British Empire (KBE). This is a specific group, established relatively recently in 1917 by King George V, to fill a gap for rewarding civilian and military effort during World War I. To qualify to be called “Sir” within this specific order, a man must be appointed as a Knight Commander (KBE) or a Knight Grand Cross (GBE).
The third is a group of Chivalric Orders, the so-called Elite and Ancient Orders. Several highly exclusive, ancient orders of knighthood sit much higher in precedence than the Order of the British Empire. These include the Most Noble Order of the Garter, the pinnacle of British honours founded in 1348, and scrupulously limited to the Monarch, the Prince of Wales, and only 24 other companion members. Then there is the Most Ancient and Most Noble Order of the Thistle, the highest chivalric honour in Scotland. The last of this group is the Most Honourable Order of the Bath; typically awarded to high-ranking military officers and senior civil servants.
The Summary Rule of this entire scenario is that every Knight of the British Empire (KBE) is a British Knight, but not every British Knight is a Knight of the British Empire. If you see a modern British knight who does not have military or diplomatic ties, odds are high that they are actually a Knight Bachelor.
With reference to the title of this presentation, now for the flip side of this, as we see things in our region of the globe. In Great Britain, it is the standard form of address to refer to a Knight as Sir John, Sir Ian etc. However, in Sri Lanka, as well as in the Indian sub-continent, very often people use the word “Sir” as a suffix or a postfix to honour someone and frequently use “X Sir”; the name followed by the word “Sir” as a suffix or postfix.
It is a fascinating linguistic oddity, and Sri Lanka is definitely not alone in this, and most definitely, we are second to none in that outlook. While using “Sir” as a suffix or postfix (e. g., De Silva Sir, Nihal Sir) completely cartwheels over the standard British etiquette, where “Sir” must strictly prefix a first name. This charming practice of using it as a suffix is actually widespread across South Asia and parts of Southeast Asia. It is a classic example of dialectal crossbreeding, where local grammatical structures and cultural norms go to the extent of rewriting even the rules of the standard English as a language.
In a very broad sense, this phenomenon is very definitely seen in the Indian Subcontinent (E.g. Sri Lanka, India, Bangladesh, Nepal, Bhutan and Pakistan). This is arguably where the “Name + Sir” phenomenon is largest and perhaps even the strongest. Across Sri Lanka, India and Bangladesh, you will constantly hear people refer to superiors, teachers, or public figures as Karu Sir, Vijay Sir, Sachin Sir, Shahrukh Sir, or Ahmad Sir, etc.
Then there is the Indian “Ji” Factor: In Indian languages like Hindi or Punjabi, it is a strict cultural taboo to call an elder or a superior by their bare name. People naturally append the respectful suffix “Ji” (e. g., Gandhi-ji, Sharma-ji). It is then no surprise at all that when switching to English, the Indian mind seamlessly swaps the local suffix Ji for the English honorific Sir, thereby turning Vijay-ji into Vijay Sir.
In Hong Kong, a very specific variation of this exists within the police force and civil service. Influenced by decades of British administration, mixed with Cantonese naming customs, junior officers and the public address superiors by their surname followed by “Sir”, such as “Wong-Sir” or “Chan-Sir“. There is even a universal colloquial generic term, “Ah-Sir“, used commonly to address male police officers or teachers.
In the Philippines, while the syntax is slightly different, the sheer density of “Sir/Madam, Ma’am” usage matches that of Sri Lanka. Filipinos deeply value hierarchical courtesy. While they might say “Sir Jason“, it is incredibly common to use “Sir” almost like a pronoun or a mid-sentence suffix punctuation mark when addressing superiors, bosses, or clients, to ensure that respect is suitably maintained conscientiously.
The mismatch between British English and South/Southeast Asian English comes down to how different native cultures view status and intimacy. In South Asia, especially in Sri Lanka, there is the Linguistic Tradition of the suffix, where an extension in the nation’s own language is inserted into a word to enhance its status. In languages like Sinhala (-thuma / –mahathmaya), in Tamil (-ayyah / –avargal), and in Hindi (-ji), respect is always attached to the end of a name. It simply means that forcefully bringing a sleek word that implies social deference to the front, like Sir John, feels syntactically peculiar or even inappropriate to a native speaker of these local languages.
The “First Name Dilemma” is another type of rather quaint occurrence. In the West, calling your boss simply “John” is seen as a gesture that is egalitarian, free and open. In South Asia, calling an elder or superior by their first name feels somewhat jarringly rude. Conversely, using just “Mr Perera” can also feel too cold, official and even distant. “Perera Sir” or “Silva Sir” strikes the perfect culturally mitigatory concession, as it maintains a warm, personal connection by using the surname while also overtly and safely conveying a layer of professional public respect by adding the word “Sir” as a suffix or a postfix.
Yet for all that, it is worth noting that fundamentally, all languages are symbolic expressions of human thought and human intelligence. Whether expressed as spoken, written or sign language, all dialects are means of human communication. The type of words like “Sir” that we use in the English Language and the real context in which they are used indicate our thoughts in our human intellect. When they are used appropriately, they reflect our commitment to uninhibited respect and even admiration. While the British people and even their Monarch might feel quite a bit confused to hear someone called “Perera Sir”, right across Sri Lanka and its neighbouring nations. Yet for all that, it is simply the most natural and fusion technique to bridge and integrate traditional deference and admiration with modern expressive English.
by Dr B. J. C. Perera
Specialist Consultant Paediatrician and Honorary Senior Fellow,
Postgraduate Institute of Medicine, University of Colombo, Sri Lanka.
An independent freelance correspondent.
Features
The Murder Room
Tales of Mystery and Suspense – 8
The Murder Room gets its title from a room of that name in a museum dedicated to Victorian memorabilia, including famous murders, which are featured in that room. But the first murder in the story occurs outside, when one of the trustees, who had been against renewing the lease of the building – which would have meant the museum having to close – is set on fire when he comes to the museum late one evening to pick up the car in which he went away for weekends. This was a regular habit, and the murderer had obviously lain in wait, with a can of petrol, and set him on fire.
I took several books with me when I went to England earlier this year, but as usual I read hardly any of them, finding enough and more of interest in the shelves of those I stayed with. My first stop was at New College, where, as on several previous occasions I stayed in what is known as the Bishop’s Room, on the topmost storey of the Warden’s Lodgings. Sadly, I shall not stay there again, for my friend who has been Warden there for a decade now, Miles Young, retires this year.
The bookshelves there have much of interest though on the last couple of occasions I have concentrated on the detective stories, which Miles says are not his, but came with the house. The second I read this time was by the generally workmanlike P. D. James, whose Adam Dalgliesh is in the long line of whimsical but efficient detectives that has Hercule Poirot at its head. Though I had not been impressed by the one novel I read, featuring James’ female detective, Dalgliesh, I liked it, and this novel confirmed my affection.
The Murder Room
gets its title from a room of that name in a museum dedicated to Victorian memorabilia, including famous murders, which are featured in that room. But the first murder in the story occurs outside, when one of the trustees, who had been against renewing the lease of the building – which would have meant the museum having to close – is set on fire when he comes to the museum late one evening to pick up the car in which he went away for weekends. This was a regular habit, and the murderer had obviously lain in wait, with a can of petrol, and set him on fire.
The other two trustees, his brother and his sister, obviously benefited from his death, for they promptly renewed the lease. The employees of the museum also clearly benefited, for they had all found some sort of refuge here. These included the caretaker/cleaner, who lived in a cottage on the premises, a manager who was unpaid but used the place for his research, the receptionist, who also looked after the flat at the museum which was used by the sister, and two volunteers plus a gardener’s boy.
The caretaker, Tally, came across the fire before discovery had been intended, for an evening class everyone knew she went to on Fridays had been cancelled. On her way in she was knocked off her bicycle by a speeding car, the driver of which stopped to make sure she was safe, before speeding off again. She manages then to summon everyone else, including Dalgliesh, who had visited the museum for the first time a few days earlier, brought by a friend who relished its strange attractions.
The museum has to be closed for a few days while investigations are carried out, but in the course of them the friend brings some transatlantic visitors, and when they are in the Murder Room a chest (in which a body had been supposed to have been hidden in Victorian times) is opened, and a body found there. That murder, the autopsy indicated, had taken place around the time of the first murder.
The body was that of a girl who had attended a finishing school part-owned by the Dupayne sister. When Tally, by chance, sees the man who had knocked her down, and identifies him as a Lord who was known for his philanthropy, Dalgliesh realises that there are wheels within wheels here. The Lord confesses that he belonged to a group that met for promiscuous sex in the flat, and that he had planned to meet the girl there but she had not turned up.
Lord Martlesham, when the girl failed to appear, thought he should get away after the fire broke out. It was then that he had bumped into Tally, and his stopping to make sure she was all right indicated that he could not have been the murderer. Dalgliesh then deduced that the murderer had seen the girl at the window of the murder room, from which she must have seen the preparations for the murder. That was why she too had been killed.
Dalgliesh then has a fair idea of who the murderer was, but in waiting for proof, he leaves room for yet another murder to happen. For Tally, who had been mulling over something said on the night of the murder, asking about the petrol that caused the fire, realized that she had not mentioned petrol herself. This happened on her way back to her cottage, and not having a phone herself she goes into the museum to call, and then gets back to her cottage and locks herself in.
But then she hears her cat howling and goes out to find him strung up. She cuts him down, but when she goes back to the cottage the murderer is waiting and knocks her down. That happens in the section called The Third Victim, but this is in fact a boy on a motorbike knocked down by the speeding car of the escaping murderer. So Dalgliesh is able to effect an arrest when he turns up as summoned, and fortunately is in time to resuscitate Tally and send her to hospital.
The reason for the murder and the identity of its perpetrator are then fairly straightforward, though the background to the second murder introduces an element of loose living that contrasts with the Victorian age, or at least the image it projected – undercut though that is by the murders highlighted in the Murder Room with their sexual overtones.
And there is another louche element in the adventures of the gardener’s boy, who lives with a Major who is homosexual, though he declares, truthfully it seems, that he was not attracted at all to the boy but had given him shelter because of his vulnerability. He is generally charming, but capable of rages, in one of which he knocked down the major, though he was forgiven. He had taken shelter with Tally, who was fond of him but decided she preferred to live alone, which was why she had sent him away the day before she was attacked.
The murdered brother was a psychiatrist, and it turns out that the mysterious weekends he spent away from his London home were spent at country inns, where he took long walks to clear his mind of the demons his practice kept bringing into it. His profession also contributed to his death, in addition to his standing in the way of the museum continuing to exist, for one of his patients, connected to the murderer, had set fire to herself.
Solid plotting, with all the loose ends tied up, of incidents and the bizarre cast of characters.
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