Features
Reflecting on Sumitra Peries’ Gehenu Lamai
The other day, I had the rare privilege of sitting in the darkened hall of Scope Cinema at the Colombo City Centre, watching the newly restored 4K version of Gehenu Lamai (Girls). It was a haunting experience. The film was released 20 years before I was born, at the height of what we may rightly call the golden age of Sri Lankan cinema. To me, the film was never a stranger. I had caught fragments of it on television over the years. But to see it brought to life on the big screen, in all its restored beauty, was to rediscover it as though for the first time.
What lingered most, even in my childhood, was the music. The genius of the late Nimal Mendis, paired with the lilting voice of the late Neela Wickramasinghe in Viyo Gee, carved an unforgettable memory in my heart. That melody was woven into my life not only through the screen but through the sound of my mother’s hands at the piano, playing Viyo Gee across the years at our home. For me, it was more than a mere song. Happily, my mother accompanied me to the show.
I had the good fortune of knowing the late Sumitra Peries, the director of this masterpiece, in the last year of her life. That friendship, fleeting though it was, is a treasure beyond measure. Restoration and relaunching, after all, is not new to me either. In 2022, I myself authored a book and, with the Tulana Media Unit and Hemapriya Kandamby, restored the 16mm film Little Bike Lost (1956). This pioneering outdoor film, which predated Lester James Peries’s Rekava, returned to life that year. Sumitra herself graced the occasion as Guest of Honour. I remember telling her with the utmost sincerity: “I liked your films more than your husband’s.” She only smiled and replied, “Without Lester, I wouldn’t do mine.”
Those words, so simple yet so profound, capture the greatness of the woman. She passed not long after that exchange, but the mark she left upon our nation will not fade. For Sumitra Peries was not merely a filmmaker. She was, and will always remain, a titan of the art — not just in Sri Lanka, but in Asia. Gehenu Lamai, Ganga Addara, Yahalu Yeheli, and her last film, Vaishnavee — which I had the privilege of watching beside her at the KDU auditorium — are not mere films. They are classics. They are monuments. They are works to be enjoyed by the film lover, yes, but also to be studied with reverence by the historian.
In their light, we see not only the beauty of our cinema but the soul of our country.
As a child, watching the poor-quality television print, the weight of these scenes hardly struck me; I found myself listening instead to Neela’s Viyo Gee, distorted on the small screen. But this restoration — carried out by the Film Heritage Foundation in association with the Lester James Peries and Sumitra Peries Foundation — deserves the highest praise. For it allowed me, at last, to absorb, to witness, and to truly enjoy the masterpiece as it was meant to be seen.
Gehenu Lamai,
based on Karunasena Jayalath’s novel by the same name, was Sumitra’s first film. It was first released in 1978. My friend Uditha Devapriya, who knew her far better, has written with great insight, concluding that Gehenu Lamai carried “a sense of sincerity and honesty often absent from subsequent productions.” That sincerity lay not only in its story, but in the balance of its portrayals. Sumitra’s films did not merely explore feminism in Sri Lankan society; they also gave voice to the traditional, conservative, and submissive woman. Nowhere is this clearer than in the contrast between the sisters: Soma (Jenita Samaraweera), embodying a bold, almost defiant femininity, and Kusum (Vasanthi Chathurani), portraying gentleness and submission. This balance, subtle yet consistent, runs through much of her work, though critics too often overlook it.
The storyline reflects many social dilemmas that were relevant in the 1970s and remain so in the 2020s. Gehenu Lamai builds its narrative on the tender yet troubled love affair between Kusum of a lower class, and Nimal (Ajith Jinadasa), from a higher one. Kusum assists Nimal’s mother, and during his visits home during vacations from the University of Peradeniya, he falls deeply in love with her, and vice versa. Yet her heart is shadowed by doubts over his family’s acceptance. The plot turns when Soma wins a beauty contest, while Kusum and Nimal secretly attend. A few onlookers expose them, and gossip soon reaches Kusum’s mother. Though she praises Kusum’s innocence, she hypocritically deems her unworthy of Nimal. Kusum vows to end the affair and leaves her work. Later, Nimal returns as a graduate teacher to the same school, and while Kusum is now his student, she maintains only a formal distance despite ridicule from others. Soma’s fall — pregnancy and abandonment — further deepens the tragedy, with Kusum raising the child as her own. In the final scenes, while Nimal is welcomed back as a Divisional Revenue Officer (DRO), Kusum is left in the shadows, revealed as having failed university and unemployed.
Now this, we may call the general plot. But Gehenu Lamai is far richer than the story alone. Beneath its narrative lie layers, nuances that too often slip past the eye. Let us begin with what is most apparent: the love between two souls divided by class, and the impossibility of bridging that divide. The scorn and ridicule of the upper class towards the lower, the struggle of the village girl Soma to adapt to the glitter and deception of Colombo, the blindness that love so often inflicts. Sumitra, with her lens, seizes these realities with quiet force. They were controversial then, and they remain so now.
Yet what is overlooked, and what I believe Sumitra achieved most beautifully, is her revelation of femininity, a revelation rare in our cinema before Gehenu Lamai. Look closely at Kusum and her friend Padmini (Shyama Ananda). Their intimacy, their shared innocence, their sisterhood. See how Shyama defends Kusum when mocked by others, how she consoles, advises, and protects her. In one of the most tender scenes, a kiss on the cheek between the two girls speaks volumes: not of scandal, but of affection, solidarity, and the unspoken language of womanhood.
Kusum herself, despite her suffering, is never stripped of her grace. She remains radiant, elegant, and deeply affectionate, a figure both fragile and strong, vulnerable yet luminous. And it is here that Vasanthi Chathurani, at only her first appearance on screen, must be remembered with the highest praise. Forty-seven years on, her performance still glows naturally, unforced, and profound. What touched me deeply was Nimal’s tenderness towards his former love when he returned as a teacher to the village. One would expect resentment, even bitterness, after such a sudden break. But Nimal was different. He went the extra mile — handing Kusum his notes, urging her to take her studies seriously, sensing how distracted and lost she had become. Ajith Jinadasa, who had already shone in Lester’s Madol Duwa (1976), carried that same brilliance into Gehenu Lamai. His portrayal of Nimal — gentle, restrained, yet quietly steadfast — remains a testament to his craft.
While I enjoyed the film for its thematic narrative and nuances expressed, I also found two or three devices Sumitra, the film maker could perhaps be responsible for making this not just an excellent film but a classic. One was the direction of cinematography led by S. Ananda. The restored version brought forward a clear idea of how exactly the visual looked like and the devices Sumitra and Ananda may have adopted to make the audience see their perspective. A technique used repeatedly was the manifestation of emotion in mirrors. This was pre-dominantly seen in film such as Bergman’s Persona (1966), Scorsese’s Taxi Driver (1976), and Satyajit Ray’s Charulata (1964).
Mirrors are never neutral. They carry the weight of the unsaid. When a character gazes into one, it signals self-confrontation, fractured identity, or feelings unvoiced. In Gehenu Lamai, Sumitra employs this with delicate precision. The reflections carrying suppressed anxieties, longings, and the tension between the life shown to others and the life lived within. The clearest instance is Kusum’s gradual emotional change upon realizing her bond with Nimal had ended once her mother discovered them.
The zoom into faces was another device. From Hitchcock to Spielberg, many directors have used it to reveal sudden shifts. Sumitra tries this, most memorably when Kusum blurts another’s name as Nimal playfully covers her eyes. Yet at times the zoom falters, slightly out of sync with motion, breaking the rhythm. Finally, the recurring Viyo Gee background singing, almost a jingle, accompanies each poignant moment. Though repetitive, Sumitra uses it aptly anchoring emotion in song, giving memory to feeling.
All in all, I felt deeply privileged to witness the restored Gehenu Lamai. To sit in the hall, watching alongside the very cast who once embodied those unforgettable roles—Chathurani, Jinadasa, and others—was not merely a screening. It was witnessing history return to life before our eyes. The restoration, with its luminous clarity, reveals the genius of Sumitra Peries with a freshness that our generation must not overlook. This film must not remain confined to rare occasions or select audiences. The restored Gehenu Lamai deserves to be made widely available, to circulate across theatres, homes, and especially classrooms. Our schools should seize the opportunity to show it to students, encouraging them to critique and reflect on the powerful message it carries—the silent struggles of class, love, and identity that remain timeless. For in films such as this, we do not just see characters; we see ourselves, our society, and the truths we often turn away from.
By Avishka Mario Senewiratne ✍️
Features
Fractious West facing a more solidified Eastern opposition
Going forward, it is hoped that a reported ceasefire agreement between the US and Iran would provide a basis for a degree of stability in the Middle East and pave the way for substantive peace talks between the powers concerned. The world is compelled to fall back on hope because there is never knowing when President Donald Trump would change his mind and plans on matters of the first importance. So erratic has he been.
Yet, confusion abounds on who has agreed to what. The US President is on record that a number of conditions put forward by him to Iran to deescalate tensions have been accepted by the latter, whereas Iran is yet to state unambiguously that this is so. For instance, the US side claims that Iran has come clear on the point that it would not work towards acquiring a nuclear weapons capability, but there is no official confirmation by Iran that this is so. The same goes for the rest of the conditions.
Accordingly, the peace process between the US and Iran, if such a thing solidly exists, could be said to be mired in uncertainty. Nevertheless, the wider publics of the world are bound to welcome the prospects of some sort of ceasing of hostilities because it would have the effect of improving their economic and material well being which is today under a cloud.
However, questions of the first magnitude would continue to bedevil international politics and provide the breeding ground for continued tensions between East and West. Iran-US hostilities helped highlight some of these divisive issues and a deescalation of these tensions would not inevitably translate into even a temporary resolution of these questions. The world community would have no choice but to take them up and work towards comprehending them better and managing them more effectively.
For example, there are thorny questions arising from the Treaty on the Non-Proliferation of Nuclear Weapons (NPT). Essentially, this treaty bans the processing and use of nuclear weapons by states but some of the foremost powers are not signatories to it.
Moreover, the NPT does not provide for the destroying of nuclear arsenals by those signatory states which are already in possession of these WMDs. Consequently, there would be a glaring power imbalance between the latter nuclear-armed states and others which possess only conventional weapons.
Such a situation has grave implications for Iran’s security, for instance. The latter could argue, in view of the NPT restrictions, that the US poses a security threat to it but that it is debarred by the Treaty from developing a nuclear arms capability of its own to enable it to match the nuclear capability of the US. Moreover, its regional rival Israel is believed to possess a nuclear weapons capability.
Accordingly, a case could be made that the NPT is inherently unfair. The US would need to help resolve this vexatious matter going forward. But if it remains, US-Iran tensions would not prove easy to resolve. The same goes for Iran-Israeli tensions. Consequently, the Middle East would remain the proverbial ‘powder keg’.
Besides the above issues, the world has ample evidence that it could no longer speak in terms of a united NATO or West. Apparently, there could be no guarantee that US-NATO relations would remain untroubled in future, even if the current Iran-US standoff is peacefully resolved. US-NATO ties almost reached breaking point in the current crisis when the US President called on its NATO partners, particularly Britain, to help keep open the Hormuz Straits for easy navigation by commercial vessels, militarily, on seeing that such help was not forthcoming. Such questions are bound to remain sore points in intra-Western ties.
In other words, it would be imperative for the US’ NATO partners to help pull the US’ ‘chestnuts out of the fire’ going ahead. The question is, would NATO be willing to thus toe the US line even at the cost of its best interests.
For the West, these fractious issues are coming to the fore at a most unpropitious moment. The reality that could faze the West at present is the strong opposition shown to its efforts to bolster its power and influence by China and Russia. Right through the present crisis, the latter have stood by Iran, materially and morally. For instance, the most recent Security Council resolution spearheaded by the US which was strongly critical of Iran, was vetoed by China and Russia.
Accordingly, we have in the latter developments some marked polarities in international politics that could stand in the way of the West advancing its interests unchallenged. They point to progressively intensifying East-West tensions in international relations in the absence of consensuality.
It is only to be expected that given the substance of international politics that the West would be opposed by the East, read China and Russia, in any of the former’s efforts to advance its self interests unilaterally in ways that could be seen as illegitimate, but what is sorely needed at present is consensuality among the foremost powers if the world is to be ‘a less dangerous place to live in.’ Minus a focus on the latter, it would be a ‘no-win’ situation for all concerned.
It would be central to world stability for International Law to be upheld by all states and international actors. Military intervention by major powers in the internal affairs of other countries remains a principal cause of international mayhem. Both East and West are obliged to abide scrupulously with this principle.
From the latter viewpoint, not only did the West err in recent times, but the East did so as well. Iran, for instance, acted in gross violation of International Law when it attacked neighbouring Gulf states which are seen as US allies. Neither Iran nor the US-Israel combine have helped in advancing international law and order by thus taking the law into their own hands.
Unfortunately, the UN has been a passive spectator to these disruptive developments. It needs to play a more robust role in promoting world peace and in furthering consensual understanding among the principal powers in particular. The need is also urgent to advance UN reform and render the UN a vital instrument in furthering world peace. The East and West need to think alike and quickly on this urgent undertaking.
Features
Science-driven health policies key to tackling emerging challenges — UNFPA
Marking World Health Day on April 7, health experts have called for a stronger commitment to science-based decision-making to address increasingly complex and evolving health challenges in Sri Lanka and beyond.
Dr. Dayanath Ranatunga, Assistant Representative of the United Nations Population Fund, stressed that health is no longer confined to hospitals or traditional medical systems, but is shaped by a broad spectrum of social, environmental, and technological factors.
“This year’s theme, ‘Together for Health. Stand with Science,’ reminds us that science is not only for laboratories or policymakers. It is a way of thinking and a tool that shapes everyday decisions,” he said.
Dr. Ranatunga noted that modern health challenges are increasingly interconnected, ranging from infectious diseases such as COVID-19 to climate-related risks, demographic shifts, and emerging forms of online violence.
He warned that maternal and newborn health continues to demand urgent attention despite progress. Globally, an estimated 260,000 women died from pregnancy and childbirth-related causes in 2023 alone—many of them preventable through timely, science-based interventions.
“In countries like Sri Lanka, where fertility rates are declining and survival rates improving, every pregnancy carries greater significance—not just for families, but for the future of communities and economies,” he said.
The UNFPA official also highlighted the growing threat of Technology Facilitated Gender-Based Violence (TFGBV), including cyber harassment and online abuse, noting that these forms of violence can have deep psychological consequences despite lacking visible physical harm.
He emphasised the need for multidisciplinary, science-informed approaches that integrate mental health, digital safety, and survivor-centered care.
Turning to demographic trends, Dr. Ranatunga pointed out that increasing life expectancy is bringing new challenges, particularly the rise of non-communicable diseases such as diabetes, cardiovascular illnesses, and cancers.
In Sri Lanka, nearly 13.9% of mothers develop diabetes during pregnancy, a trend attributed to obesity and unhealthy lifestyles, underscoring the urgent need for preventive healthcare strategies.
“Are we investing enough in prevention?” he asked, noting that early intervention and healthier lifestyles could significantly reduce long-term healthcare costs, especially in a country with a free public healthcare system.
He underscored the importance of data-driven policymaking, stating that scientific research and analytics enable governments to identify gaps, anticipate future needs, and allocate resources more effectively.
The UNFPA, he said, is already leveraging tools such as Geographic Information Systems (GIS) to improve access to maternal healthcare, including mapping travel times for pregnant women to reach health facilities.
Digital innovation is also transforming healthcare delivery, from telemedicine to real-time data systems, improving efficiency and ensuring continuity of care even during emergencies.
In Sri Lanka, partnerships between the government and development agencies are helping to modernise training institutions, including facilities in Batticaloa, equipping healthcare workers with both clinical and digital skills.
However, Dr. Ranatunga cautioned that technology alone is not a solution.
“It must be guided by evidence and grounded in equity,” he said, pointing out that women’s health remains significantly underfunded, with only about 7% of global healthcare research focusing on conditions specific to women.
He also drew attention to the growing health impacts of climate change, including extreme weather, food insecurity, and displacement, describing it as an emerging public health crisis.
“Health does not begin in hospitals. It is shaped by the environments we live in, the choices we make, and the systems we build,” he said.
Calling for renewed commitment, Dr. Ranatunga urged stakeholders to invest in prevention, embrace innovation, and ensure that science remains central to policy and practice.
“Science is not just about knowledge—it is about ensuring that everyone has the opportunity to live healthy, dignified lives, and that no one is left behind,” he added.
By Ifham Nizam
Features
Sharing the festive joy with ‘Awurudu Kaale’
Melantha Perera is well known as a very versatile musician.
He was involved with the band Mirage, as their keyboardist/vocalist, and was also seen in action with other outfits, as well, before embarking on a trip to Australia, as a solo artiste.
I now hear that he has plans to operate as a trio.
However, what has got many talking about Melantha, these days, is his awesome work with the visually impaired Bright Light Band.
They have worked out a special song for the Sinhala and Tamil New Year, aptly titled ‘Awurudu Kaale.’
Says Melantha: “This song has been created to celebrate the spirit of the Sinhala and Tamil New Year and to share the joy of the Awurudu season with all Sri Lankans”.
Yes, of course, Melantha composed the song, with the lyrics written collaboratively by Melantha, Badra, and the parents of the talented performers, whose creative input brought the song to life during moments of inspiration.

Melantha Perera: Awesome work with Bright Light Band
This meaningful collaboration reflects the strong community behind the Bright Light Band.
According to Melantha, accompaning the song is a vibrant video production that also features the involvement of the parents, highlighting unity, joy, and togetherness.
Beyond showcasing their musical talents, the visually impaired members of Bright Light Band deliver a powerful message, through this project, that their abilities extend beyond singing, as they also express themselves through movement and dance.
Melantha expressed his satisfaction with the outcome of the project and looks forward to sharing it with audiences across the country during this festive season.
He went on to say that Bright Light Band extends its sincere gratitude to Bcert Australia for their generous Mian sponsorship, the CEO of the company, Samath Fernando, for his continuous support in making such initiatives possible, and Rukshan Perera for his personal support and encouragement in bringing this project to completion.
The band also acknowledges Udara Fernando for his invaluable contribution, generously providing studio space and accommodating extended recording sessions to suit the children’s availability.
Appreciation is warmly extended to the parents, whose unwavering commitment from ensuring attendance at rehearsals to supporting the video production has been instrumental in the success of this project.
Through ‘Awurudu Kaale’, Bright Light Band hopes to spread festive cheer and inspire audiences, proving that passion and talent know no boundaries.
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