Features
The Broken Promise of the Lankan Cinema:
Asoka and Swarna’s Thrilling Melodrama – Part II
“‘Dr. Ranee Sridharan,’ you say. ‘
Nice to see you again.’
The woman in the white sari places a thumb in her ledger book, adjusts her spectacles and smiles up at you. ‘You may call me Ranee. Helping you is what I am assigned to do,’ she says. ‘You have seven moons. And you have already waisted one.’”
The Seven Moons of Maali Almeida
by Shehan Karunatilaka (London: Sort of Books, 2022. p84)
(Continued from yesterday)
The Promise of a Multi-Ethnic National Cinema
The Colombo premiere of Broken Promise (1947) was a national event, attended by D. S. Senanayake and business leaders as it promised much – the possibility of a popular national cinema that addressed a multi-ethnic polity and a profitable business. People were bused into Kandy, where the film was screened in a large tent, and screened in several cinemas in Colombo and the suburbs. Certainly, from its inception the Lankan cinema was multi-ethnic in the composition of its creative artists (musicians, singers, actors, directors), technicians and producers, theatre and studio owners who provided the capital.
Sumathy Sivamohan’s 2018 film Sons and Fathers explored this multiethnic creative hybrid ecosystem of the industry during the 1983 pogrom against the Tamil citizens of Lanka. She modelled the musician in the film on the creative spirit of Rocksamy’s life and work so integral to the success of Lankan cinema. Sumathy researched the film by speaking to Mrs Rocksamy and incorporated a scene with her in the film. She spoke to impoverished old Tamil editors and the children of a musician to understand in some detail its multi-ethnic ecosystem and ethos of its lower-middle class creatives. She then crafted these ethnographic musical insights into an intricate poetic film.
Between Fact & Fiction: A Membrane/Skin
Sons and Fathers is a film that straddles the permeable boundaries between Documentary and Fiction films with a certain ease and confidence derived from its solid ethnographic research on the national film industry, its multi-ethnic artists and their lives. Sumathy does not proceed, as Asoka Handagama does, on the assumption that Documentary cinema is an entirely separate genre from Fictional genres. She is aware of the over one hundred-year history of Documentary cinema itself, its diversity, cross-cultural richness and its play between categories. For example, take the case of Basil Wright’s award winning ‘Poetic-Documentary’ The Song of Ceylon (1933). Lionel Wendt provided the research for this film and his tender voice-over poetic commentary, and took Kandyan drummer Suramba to London to record his sounds for the film’s ‘Devil dancing’ spirit possession ritual sequences which make the film catch fire. The film still has the power to haunt and vibrate us with its poetic cinematic intensity, the fictionalising power of its montage of sounds and images unchained from dogged documentary facts and realism.
Asoka Handagama surely must know this Lankan film history too, but tactically insists on the absolute separation between the genres of Documentary (reality), and Fiction (prabandaya), in defending Rani against strong criticism that it distorts the real lived experience of Manorani and Richard. Swarna laughingly dismissed this valid criticism as ‘Nephew and Niece criticism’, in an interview she gave in Australia, when the film was screened here in private screenings at multiplexes. But scorn and ignorance are not what we expect of senior artists of the calibre of Asoka and Swarna. They set a very bad example for the young, but perhaps young Lankans are cooler in their appraisal of such irresponsible behaviour and know it for what it is, ‘Neo-liberal ‘market-speak’.
The film Rani by Asoka Handagama presents the 1990 political assassination of the popular journalist-actor-poet Richard de Zoysa, (the ‘bi-racial’ child of a ‘mixed marriage’ between a Sinhala father and a Tamil mother), and ‘theatricalises’ or ‘dramatises’ its impact on his mother Dr Manorani Saravanamuttu, during an era of extreme political terror in the South of the country, between the UNP Government and the JVP. In naming the film Rani, Handagama appears to signal something because the ad tells us Sinhala folk that it means ‘Queen’. This metonymic displacement (a rhetorical strategy of taking a part for the whole), of the actual person’s proper name, ‘Manorani,’ into the dramatis-persona ‘Rani’, is further amplified and complicated by what Swarna Mallawarachchi has said about the character she played.
Swarna’s 28-year-old Promise
Swarna has said that she had met Manorani four times after her son’s assassination, beginning in 1996 and that she had promised her that she would tell her story and that of her son to the world. In this way she creates a certain gravitas, an ethic for her work on Rani, a sign of authenticity of a ‘true story’, testifying to a historical crime at the time of state terror and counter terror. True to her promise, she has said in recent interviews that she sustained her desire to play the role of Manorani for 28 years, at last realised in 2025 through the Indian production company LYCA’s capital.
Tamil Entrepreneurship and Sinhala Cinema
Subaskaran Allirajah, the CEO of LYCA films based in Chennai, is a Sri Lankan Tamil born in Jaffna and now a British citizen. LYCA film production is a subsidiary of a Telecommunication company for sim cards he runs from Britain. His film list includes Mani Ratnam and many major directors working across popular Tamil, Hindi and Telugu films in India, with an immediate global reach with the large Indian diaspora.
So, what sweet irony (after the violence levelled against Tamils who powered the Lankan film industry, burning the director Venkat in his car during July ‘83, but also later, with the assassination of Gunarathnam in his car, burning down of Tamil studios with Sinhala films stored therein and the proletarian movie theatres) that a Tamil business man from Jaffna has once again come to the rescue of the Sinhala cinema! As with Kadawunu Poronduwa in 1947, an Indian company, headed by a Lankan Tamil CEO has come to the rescue of a Sinhala film, with a Neo Liberal business model, kindling hope yet again for a national film industry, but this time with global dreams of access to streaming services such as NETFLIX and the like. It would appear that Lanka’s Sinhala language cinema cannot do without Tamil enterprise.
But it’s worth noting what S. Janaka Biyanwila says in his Polity essay:
‘Lyca has also been a major donor to the Conservative Party in the UK. In 2023, a French criminal court fined the company for tax fraud and money laundering. In 2024, the UK tax authorities demanded the company declare bankruptcy in order to pay overdue taxes. In 2018, LYCA acquired the EAP group in Sri Lanka with interests in media and entertainment, including television and radio channels and movie theatres. Last year (2024), the Sri Lankan government blocked LYCA from bidding for ownership shares in Sri Lanka Telecom and Lanka Hospitals.’
These monopolising moves of LYCA seeking ‘vertical integration’ of the film industry, should be front and centre even as some fans swoon over Rani and dream of a ‘quality’ Sinhala film industry revived by LYCA.
The Unconscious of the Sinhala Cinema Genealogy
(Vanshakathawe).
It is the Sinhala cinema’s unconscious, its ‘Other’ if you like, as expressed in Rani that I wish to render conscious in this piece. Let Rukmani Devi’s amaraneeya (undying) Shoka Gee (melancholy songs), and also that of Mohidin Baig’s Bhudu Gee once again cut through our sedimented Sinhala prejudices as we look back, both at our film history and its future at this critical moment.
Asoka’s Sovereign Right to ‘Self-Expression’
However, in contrast with Swarna’s promise to Manorani, Asoka Handgama says that as an artist (not a maker of documentary), he has exercised his ‘right to self-expression’ and has presented his own version of both Richard and his bereaved mother Manorani; in short, it is not a documentary, it’s fiction. It’s obvious that these two views, (on one hand, that of the actor keeping to a solemn promise to be true to what happened (through a ‘bio-pic,’ as the Head of Production, Janaki Wijerathna maintained in an interview), and on the other, that of the director expressing his own creative artistic-self), contradict each other. The film anticipates the criticism that it falsifies the biographical true story by providing a pre-emptive defence through a sentence, before the opening of the film, that it’s a work of fiction based on fact. This defensive move is part of its publicity, it anticipates controversy, provides the terms for it. I wish to side step this dynamic and shift the critical terrain, which is the professional task I set myself as a film theorist and scholar.
The actress and the director seem to have two different understandings of their intentions and what it is that they have done. Swarna then obfuscates matters further by saying, ‘film is a director’s medium and as an actor my work is to follow his wishes’. But Asoka has said that Swarna brought this project to him when LYCA came up with the money and he wrote it within 3 months with her in mind. It was not a film he had wanted to make, he said. He appears to have written a skeletal generic structure for Swarna to embody as she wishes, in her familiar high intensity, award winning mode of performance.
To Eat the Cake and Have It
To put it differently, they want to both ‘eat their cake and have it,’ which is of course very good PR for the box office success of the film. ‘Eating the cake’ implies maximising and gratifying their own pleasure as artists, and ‘having it’ as in keeping the cake intact, means that the names of the historical mother and son are used as a strong historical referent both within the film and in its PR, but get distorted when it gets in the way of the artists’ own ‘self-expression’ and self-gratification. That there is an ethical dilemma here, as many have pointed out, is a point I wish to explore further by theorising the aesthetics of the film. The invective one hears goes nowhere intellectually, but just feeds the publicity machine. Controversy is very good for promoting a film, creates a buzz, people want to see what all the fuss and excitement is about.
The exceptional box office success of the film is no doubt also linked to Swarna Mallawarachchi’s stature as a serious actress with a proven track record of award- winning work with some of Lanka’s main auteurs. And in being identified with Rani as Queen, at least one critic announced that Swarna is now a ‘golden super-star’. The logic of such hyperbolic marketing is of interest to me as a film scholar studying the public reception of films within the robust subfield of ‘Reception Studies’ and the kind of ‘public-spheres’ that competing discourses on a film generates, now especially, within a digitally powered virtual mediascape which is our democratic ‘commons’.
As well, importantly Asoka Handagama is one of Lanka’s major playwrights and an unusual modern filmmaker in that he has developed an idiom of his own, with a distinguished body of work which in turn has created an educated cine-literate audience who followed it keenly over a significant period of time. Therefore, Lankans are eager to see Swarna and Asoka present Dr. Manorani Saravanamuttu and Richard de Zoysa, a mother who was a Tamil professional woman and single parent and her very well-known and loved son, a journalist, actor and poet from the Lankan Anglophile upper-middle class, caught up in the extraordinary violence in the South, of the 1987-1990 era of extra-parliamentary politics of our island nation.
Political Theatre
The other draw card is the explicitly political representation of key political figures of the era represented by actors resembling the politician more or less. A thrilling novelty, it makes it structurally possible for Asoka to sketch the drama of the mother and son within the real-politic of the Premadasa era and even dramatize the bomb blast by the LTTE suicide bomber on a bicycle, which annihilated the president and others. LYCA’s Indian currency would have helped in staging the blast, as such destruction requires lots of money to execute with even a little credibility. This effort by Asoka is, in my opinion, a ‘third-world’ example because stage destruction, which cinema has perfected for profit in the genre of ‘Disaster movies’, requires much more than was available. He was pandering I feel to our desire to see President Premadasa being blown up, along with the senior cop who Manorani unequivocally identified as the one who arrived with lumpen thugs to her house, to abduct Richard, to torture and kill him according to, as widely believed, the President’s command.
This kind of violence, staged to excite and thrill, is the very stuff melodrama feeds on. The sonic ‘reverberation’ technically added to the sound of the abductors crashing into Richard’s house amplifies the melodramatic tension and suspense. In contrast, the three firm taps on the infamous heavy-wood teak Jaffna door, in Sumathy’s A Single Tumbler, chills the sensorium of the viewer, where fear and thought commingle as one quiet voice ‘signifying the boys’ announce their intent to take the son away for questioning. In contrast, Melodrama disarms our thought processes as it works with orchestrating (with loud sound and manic editing), suspense and thrilling action, its raison d’etre. This is the source of its global attraction and popularity as a genre.
(To be continued)
The global trading system, once a beacon of predictability and cooperation, is in tatters. For decades, the World Trade Organisation (WTO) upheld a rules-based order grounded in principles like the Most Favoured Nation (MFN) clause, ensuring equitable treatment among trading partners. This framework fostered an era of unprecedented economic integration, lifting nations—large and small—through the tide of globalisation. Yet, that era is fading fast. The United States, long a champion of this system when it suited its interests, has detonated its foundations with escalating tariffs and unilateral protectionism. These measures, often targeting economic rivals like China, flout the WTO’s core tenets, replacing multilateral consensus with a power-driven free-for-all. The US’s selective tariffs—disregarding MFN principles—signal a retreat from cooperative trade norms, fragmenting the global economy into blocs shaped by political expediency rather than economic logic. For smaller nations like Sri Lanka, this shift is both a peril and a puzzle: the rules we relied upon are gone, and the future is being forged around us, whether we act or not.
This upheaval is not merely a bilateral spat between superpowers; it’s a seismic reconfiguration of global trade. The US, despite trumpeting its goods trade deficits, quietly maintains a surplus in services—a complexity drowned out by the rhetoric of protectionism. Its push to resurrect domestic manufacturing, especially in critical industries like semiconductors and steel, hints at a broader strategy to insulate itself from foreign competition. Historical parallels loom large: the Smoot-Hawley Tariff Act of 1930, which raised US duties on hundreds of imports, deepened the Great Depression by choking global trade. Today’s interconnected supply chains amplify that risk, where a single tariff can ripple across continents, slashing demand and destabilising markets. The likelihood of a full-blown trade war grows, with tit-for-tat retaliations threatening to redraw economic alliances. Growth forecasts for 2025 are already tilting downwards, and for Sri Lanka—just emerging from the bruising IMF-prescribed reforms—this instability could snuff out nascent recovery. Yet, amidst this chaos, the future is taking shape. Regional blocs are coalescing, new trade routes are emerging, and nimble nations are seizing opportunities. Sri Lanka cannot afford to stand still as the world moves forward.
Opportunities and Strategies for Sri Lanka:
Exploiting Trade Diversions and Gaps
The fracturing of traditional trade flows offers Sri Lanka a chance to step into the breach. As US buyers grapple with higher costs from tariff-hit countries like China, Sri Lanka could position itself as a viable substitute. Our apparel sector, already a global player, could capture market share lost by pricier competitors, while rubber products and electronics components—where we have latent capacity—could find new buyers. Beyond substitution, we could embed ourselves as a cost-effective link in supply chains shifting away from China, offering stability to multinationals wary of volatility. The actionable path is clear: identify tariff-affected goods where Sri Lanka holds competitive edges, then aggressively market these through international trade fairs, digital B2B platforms, and targeted outreach to US importers. This requires swift coordination between the Export Development Board and the private sector to seize the moment.
Strengthening Bilateral Trade Negotiations
While the WTO weakens, bilateral deals gain prominence. Sri Lanka must negotiate preferential trade agreements or tariff concessions with the US, focusing on key exports like tea, garments, and spices. Our status as a developing nation, potentially via the Generalised System of Preferences (GSP), offers leverage—though its reinstatement has been erratic since its lapse in 2020. Diplomatic and economic lobbying in Washington, backed by a clear case of mutual benefit, could restore or expand this access. Beyond the US, forging similar pacts with other major markets—such as the UK post-Brexit or Japan—would bolster our position. This demands a dedicated trade negotiation team, armed with data and a compelling narrative of Sri Lanka as a reliable partner in a turbulent world.
Diversifying Export Markets
Over-reliance on any single market, particularly the US, is a liability in this volatile landscape. Sri Lanka must pivot towards emerging economies and regional players—India, ASEAN, the Middle East, and Africa—where tariff structures are less prone to sudden shocks. India’s growing consumer base, for instance, could absorb more of our tea and apparel, while the Gulf’s demand for construction materials aligns with our rubber and coir strengths. Supporting small and medium enterprises (SMEs) to tap these markets is vital, through trade facilitation hubs, subsidised market research, and digital tools like e-commerce platforms. The Ceylon Chamber of Commerce could lead here, bridging SMEs with opportunities abroad.
Investing in Value Addition and Branding
Exporting raw materials confines us to low-profit cycles. Shifting to high-value, branded goods—think premium Ceylon teas with traceable origins, eco-friendly packaging, or artisanal spices—could transform our economic profile. Take tea: instead of bulk exports, we could market single-estate blends to affluent consumers in Europe or North America, commanding triple the price. Government support is key—tax incentives for innovation, grants for sustainable packaging, and training for entrepreneurs to build global brands. The success of Dilmah, a homegrown name, proves this model works; scaling it across sectors could redefine Sri Lanka’s export identity.
Attracting Foreign Direct Investment (FDI)
As multinationals flee US-China trade tensions, Sri Lanka can pitch itself as a neutral, cost-effective production hub. Our strategic location, skilled workforce, and existing Export Processing Zones (EPZs) are assets—if we market them right. Streamlining FDI approvals, cutting red tape, and offering tax holidays could lure firms in textiles, electronics, or even renewable energy components. Look at Vietnam, which has soaked up billions in FDI by positioning itself as a China alternative; Sri Lanka could emulate this with a fraction of the scale but equal ambition. The Board of Investment must prioritise this, showcasing our stability amid global upheaval.
Cushioning Vulnerable Sectors and Building Resilience
Not all sectors will thrive in this shift. Those hit by reduced global demand—say, gemstone exporters reliant on Western jewellers—need a lifeline: subsidies, credit guarantees, or export insurance to weather the storm. More broadly, Sri Lanka’s lack of a coherent industrial policy is a glaring weakness. Selling off state development banks like DFCC and NDB was a strategic blunder; we need a new institution tied to a long-term industrial vision, fostering manufacturing and innovation. Education, too, is underfunded—government spending is at historic lows, leaving us unprepared for a skills-driven economy. Job support programmes and a task force to tackle immediate business and worker uncertainties are urgent steps to shore up resilience.
Partnering with Regional Blocs
Isolation is not an option. The South Asian Association for Regional Cooperation (SAARC) is moribund, crippled by India-Pakistan tensions, but alternatives beckon. The Bay of Bengal Initiative for Multi-Sectoral Technical and Economic Cooperation (BIMSTEC) offers a platform to deepen ties with India, Bangladesh, and Thailand, prioritising collaborative growth. More ambitiously, the Regional Comprehensive Economic Partnership (RCEP)—the world’s largest trade bloc, spanning ASEAN, China, Japan, and Australia—looms as a game-changer. Could Sri Lanka join? It’s not a member yet, but observer status or a phased accession isn’t implausible. Our proximity to India, an RCEP signatory, and our trade complementarities (e.g., tea for China’s market, apparel for Southeast Asia) make a case. Joining would require aligning regulations, boosting competitiveness, and lobbying through diplomatic channels—perhaps via ASEAN ties. Even short of full membership, negotiating parallel deals with RCEP nations could integrate us into their supply chains, amplifying our reach. Regionalism, not nationalism, is our shield against global fragmentation.
The way forward
The rise of protectionism tests Sri Lanka, but it need not break us. History warns of downturns, yet today’s stakes—jobs, wages, stability—are too high for inaction. The government must act boldly: unite resources, strengthen resilience, and prioritise citizens over short-term politics. Economic openness and social cohesion remain our north stars. As the world reshapes itself, Sri Lanka must carve its place—not just to survive, but to thrive.
(The writer is Professor of Marketing University of Surrey. Views expressed in this article are personal)
by Prof. Chanaka Jayawardhena
Chanaka.j@gmail.com
BBC Earth recently launched a seven-part documentary series titled ‘Asia’, showcasing the region’s diverse wildlife. The Guardian referred this documentary as a masterclass in television, in which every element is cooked to perfection. The narration was done by Attenborough, and it also featured Sri Lanka’s wild elephants. Series producer Matthew Wright told The Daily Telegraph that “every recording session includes a pronunciation guide, no matter who the narrator is. But David politely said he doesn’t need it because he’s been to most places and met most of the animals we cover – so you hear his great voice pronouncing all these words correctly straight off the bat.”
by Tharindu Muthukumarana
tharinduele@gmail.com
(Author of the award-winning book “The Life of Last Proboscideans: Elephants”)
Sir David Attenborough has been an internationally recognised household name. On May 8, 2025, he did celebrate 99 years on this planet, and he remains as dynamic as ever. Fans of his span multiple generations, from the Silent Generation and Baby Boomers to Gen X, Millennials, Gen Z, and even Gen Alpha. On that account, it’s no surprise that Time magazine named him one of the 100 most influential people in the world. As a nature documentary narrator, he had touched on many natural subjects. Attenborough’s voice is distinguishable, and it’s remarkable that, despite his age, it remains in high demand. Having said that, something special for us Sri Lankans is that he had narrated various documentaries related to Sri Lanka as well. This article features a glimpse of it.
Attenborough’s dream to visit Sri Lanka and how it got shattered
In the year 1945, Attenborough won a scholarship from the University of Cambridge to study zoology and geology. He completed his degree in natural sciences in 1947 and was anticipating a career that would ultimately take him to remote and exciting parts of the world. This was during an era when World War II had just ended. Soon after, he was called for National Service and enrolled in the Royal Navy. But as he joined, his main interest was not fighting in a war but to travel somewhere romantic where natural beauty is concerned. During his training period at Gosport, he met old naval hands who talked a lot about Trincomalee. As you may know, at that time Trinco was the home port of the Eastern Fleet of the Royal Navy. Young Attenborough was captivated by Sri Lanka’s natural beauty and hoped to be posted to Trinco after completing his training. But, unfortunately, his dreams got shattered when he was sent to join an aircraft carrier that was being mothballed as part of the Reserve Fleet in the Firth of Forth. He served in the Navy for two years but was not involved in any war during his service.
Having said that, there is lingering doubt: ‘What if Attenborough got the chance to come to Sri Lanka during his naval days?’ Would he have made Sri Lanka his home like Sir Arthur C. Clarke did? I will leave it to you to decide!
Narration on sperm whales in Blue Planet II
Blue Planet II is a 2017 marine life documentary series created by the BBC and narrated by Attenborough. The filming process spanned over four years, encompassing 125 expeditions across 39 countries. This series featured sperm whales found in Trincomalee waters. A superpod is a vast assembly of whales, where they interact through physical contact, socialising, and communication. Sri Lanka provided an incredible opportunity to witness this phenomenon. The documentary showcasing it became the most-watched television programme in the UK in 2017. In China, its popularity was so immense that it reportedly impacted the nation’s internet speed due to the sheer number of viewers. Additionally, British universities, including the University of Southampton, saw a significant rise in applications for marine biology degrees after the documentary aired.
In April 2018, spurred by the rising public awareness generated by Blue Planet II, the British government revealed it was contemplating a nationwide ban on single-use plastic items. Reports also indicated that Queen Elizabeth II’s move to prohibit plastic bottles and straws within the royal estates was partially influenced by the documentary. A study conducted in 2020 further suggested that the programme had a lasting impact, significantly heightening political, media, and public engagement with plastic pollution in the UK—an issue that had previously struggled to gain momentum. According to Sri Lankan tourism experts, this documentary had a positive impact on whale-watching tourism in the country.
Narration for Sri Lanka’s mangrove conservation project
A few years ago, a non-profit environmental conservation organisation, called Seacology, did an important project to help Sri Lanka to preserve and replant all of its mangrove forests. For this project a mini documentary was made, and the narration was done by Attenborough. This project conserved about 21,782 acres (8,815 hectares) of mangrove forests on the island. Furthermore, it offered alternative career training and microloans to 12,000 underprivileged women living in 1,500 hamlets near the country’s mangrove forests. This initiative also replanted 9,600 acres (3,885 hectares) of mangrove forests that had been cleared, using seedlings cultivated in three Seacology-funded mangrove nurseries.
Narration on mugger crocodile in Planet Earth III
In 2023, the BBC launched a wildlife documentary series titled Planet Earth III, narrated by Attenborough. In it, a scene that was shot in Yala National Park was included, and The Daily Mail regarded this as “stunning shots of a crocodile surprising a group of deer”. This involves, during the dry season, how a mugger crocodile waits for the opportunity to grab its prey. As time passes by, a herd of spotted deer arrive at the waterhole to quench their thirst. However, the crocodile was successful. Attenborough says in the documentary that “These crocodiles have learnt to exploit the deer’s desperate need for fresh water.” According to the cameraman Abdullah Khan, to take that shot, it took about five weeks of filming.
Narration on Sri Lankan elephants
BBC Earth recently launched a seven-part documentary series, titled ‘Asia’, showcasing the region’s diverse wildlife. The Guardian referred this documentary as a masterclass in television, in which every element is cooked to perfection. The narration was done by Attenborough, and it also featured Sri Lanka’s wild elephants. Series producer Matthew Wright told The Daily Telegraph that “every recording session includes a pronunciation guide, no matter who the narrator is. But David politely said he doesn’t need it because he’s been to most places and met most of the animals we cover – so you hear his great voice pronouncing all these words correctly straight off the bat.”
It gave special attention to cheeky elephants on the Buttala-Kataragama road, which have a behaviour of staying in the middle of the road and soliciting food from motorists. The elephant named ‘Buttala Raja’ stole the show. In the documentary, Attenborough says, “Raja’s persuasive charm has earned him a reputation. He knows which vehicles aren’t worth bothering with and which have the potential to deliver a feast. Raja’s gentle nature has won many hearts.” A cropped video clip from that documentary, which shows those elephants, went viral on social media sites recently.
In conclusion, as Attenborough celebrates 99 years, I wish him a joyful year filled with exciting adventures and remarkable discoveries. Also, not to mention what we Sri Lankans always say: “Ayubowewa! (May you live long)”.
I have not, for many months, written about the current political situation, not least because I had really no idea where we were heading. I thought the President elected last September was the best alternative we had, but that was no great recommendation given the other candidates. Sajith Premadasa was the best of the rest, to my mind, but he did seem to carry a lot of old Ranil Wickremesinghe baggage, and he did not develop the vision of his father, by far the most productive President we have had.
Premadasa adjusted the opening of the economy which, to give him his due, J R Jayewardene had initiated, to introduce a healthy dose of social recalibration, with enormous emphasis on rural development which had been ignored in the first 11 years of UNP rule. I was sorry that Sajith seemed instead to go along with the Westernised model his principal economic advisers trumpeted. Given how Donald Trump has now upended the gospel of free trade which the West imposed on us for years, it is a good thing that the extremists did not have a free hand for the three months before Trump turned everything upside down.
The current government however was not as independent in its approach as I would have liked, and perhaps under the influence of the most effective of American ambassadors in recent years has seemed to go along with many of the remedies that the previous government has put forward. But there was one area in which they did shift from the lethargy of Ranil Wickremesinghe. This was with regard to the most important, to my mind, of World Bank recommendations—pursuing the plundered money. Obviously Ranil, given his own record and that of those who made him President, was not likely to act, though I was deeply ashamed that more decent folk such as Indrajith Coomaraswamy remained mealy-mouthed and allowed the rot to carry on.
Indeed, the evidence that is emerging about the role of the Presidential Secretariat in continuing corruption suggests that things got worse in the two years of Ranil’s Presidency. Though I may be more indulgent to Gotabaya Rajapaksa than he deserves, it is worth noting that there are no allegations of his office being the fountainhead of corruption while he was President, though he seems to have given a free hand to the most monstrous of the hangers on of the Rajapaksa clan, let alone its members. But Ranil’s antics with his friend Lord Francis Maude suggest that he was no better than those characters, though obviously he worked in more subtle ways.
But though the NPP seemed to present a sea change as far as dealing with corruption is concerned, they are painfully slow. It is disappointment about this that was the most important reason for its loss of support at the local government election. Efforts to convince itself with specious arguments that it in fact won the election are pitiful. Worse, they may become a substitute for analysis of what went wrong.
It is useless to complain that governments have to proceed slowly. This is what we have been told for years, and while there are traces of some efforts being made, the general impression is that this government will fail miserably to check corruption. If not corrupt itself, for the moment, unless it acts some of its members will begin to think there is nothing wrong with corruption. For one still remembers how swiftly members of Chandrika Kumaratunga’s cabinet lost their ideals – I recall my brother-in-law telling me with surprise that Srimani Athulathmudali was pretty bad, though that may have been due to those who controlled her then – and I recall too how the promise of Yahapalanaya was destroyed, with the President soon enough following Ranil Wickremesinghe in paving the way for his near and dear to make money.
There are enough mechanisms in place to act, and the government also has a majority to introduce new mechanisms. The argument one hears from those who probably did not vote for this government but were happy to give it a chance is that they have no experience, and there is no professional capacity to innovate. But they do have enough experts with goodwill towards them who could advise productively.
I cannot understand for instance why they have not made use of Nigel Hatch, who did yeoman service for them in cases before the courts to highlight the double dealing of the government with regard to postponement of elections. Perhaps, the problem was that he was approached to represent the party through the Prime Minister, and she has less authority than her position would imply. But surely those who do have authority must understand the need to make sure that the capable are entrusted with responsibilities commensurate to the problems before us.
If they are diffident about their capacity to communicate, they should once again make use of the Prime Minister and her staff. Her Secretary is a capable man, but he seems unable to assert himself, and will not take decisions. To move from corruption to diffidence about productive action, it is worrying for instance that he seems to have shelved the admirable project about mangrove restoration that has been presented to him. That had been initiated by Ruwan Wijewardene before the big wind came and blew him away. But surely Pradeep Saputantri can understand English as well as Ruwan, and he should be able on his own to get the Prime Minister’s approval to take things forward. Sending things up and down for comments takes ages and is no way to give the country the action it so urgently wants.
The President must realise that, though the honeymoon is not yet over, it soon will be. Premadasa was up and running as soon as he was elected; so were J R and Mahinda with regard to their most productive activities. Nothing can be done about natural disasters, but a combination of strikes and what seems incompetence in vital areas will make unpopularity increase in leaps and bounds. I hope the President will not be carried away by the pleasures of travel and forget the hopes the country had in him six months ago.
by Prof. Rajiva Wijesinha
Joe Biden diagnosed with ‘aggressive’ prostate cancer
IPL2025: Sai Sudharsan and Gill help clinical GT book playoffs berth
Showers above 100 mm are likely at some places in Western and Sabaragamuwa provinces and in Galle, Matara, Puttalam, Nuwara-Eliya and Kandy districts
-
Features1 day agoSearching for George Keyt
-
Midweek Review5 days agoBronze statue for P’karan, NPP defeat in the North and 16th anniversary of triumph over terrorism
-
News3 days agoChikungunya spreading rapidly in Colombo and suburbs
-
Features1 day agoThe Strategic Imperative:Why Sri Lanka Could Transform Indo-Pacific Security Through Space
-
Life style1 day agoBehind the sparkle
-
News6 days agoExpert: Mismanagement of CEB hydro resources increases costly oil-powered electricity generation
-
News5 days agoFrench Navy Ship ‘BEAUTEMPS BEAUPRE’ sets sail from Colombo
-
Business2 days agoHameedia launches ‘We Create’ – Sri Lanka’s first-ever online tailoring platform