Lester James Peries, who took the camera to the outside world. Speaking of the films dubbed in Sinhala, “Aiyai Mallli”, “Salli Era” and “ Manussatvaya” are believed to be prominent. As mentioned by the Targore Society of Ceylon, it was a great production. Perera found the film to be the best film ever produced. He adapted the plot of the Hindi Film “Bari Behn” into “Sujatha” which had contained a variety of sequences such as the hugging scenes, half exposed costumes, and the good natured poor maiden, rich and educated people. Gunaratnam wanted to make a film by using the new techniques of foreign films. Back in 1953, another film “Sujatha” was released. B.A.W Jayamanne decided to make a film based on W.A Silva’s “Kele Handa.” Significantly, the film “Kele Handa” went a long way in proving that a novel can be converted into a film successfully. Our film producers continued to gain inspiration from Indian films. “This time Sirisena Wimalaweera presents to you the film ‘Podi Putha’ in order to convey by means of an exemplary story, the fire that burns is the heart of a father who strives for his son’s wellbeing, the suffering he undergoes, the warmth and intensity of his tears and the cruel fate that he finally succumbs to on account of his son, along with a host other dark blotches in the social scene.” This film was released by his Lanka Nava Jivana Film Company with the following preface. As a result, Sirisena Wimalaweera failed to bring out the Sri Lankanness through his films.īack in 1965 Sirisena Wimalaweera made a film titled ‘Podi Putha’. However, sadly, the Sri Lankanness which had not been embedded either in the plot or in the interplay of characters was confined only to dialogues and sequences. Sirisena Wimalaweera wanted to localise his films. However, the plots of both producers’ films were identical in their melodramatic concoctions. But on the contrary, Sirisena Wimalaweera made his own films based on his own stories at his Nava Jivana Studio. Nayagam at his Sundara Sound Studio were derived from South Indian influence.
It was evident that films produced by S.M. Many years ago we had only two studios led by S.M.
These documentaries depicted the glories of the country and activities of the government well. The Government Film Unit which was established by European technicians made several documentaries devoid of the South Indian influence. Suffice to say that our Sinhala cinema was thriving under the South Indian influence. What was the remarkable cinematic creation was “Banda Comes to Town” produced in 1952 because of its technique. In the golden era, we had iconic roles such as Rukmani Devi as the Nightingale of the Silver Screen, Mark Samaranayake as the Villain of the Sinhala Silver Screen and Eddie Jayamanne as the King of Comedy. Fight and comic sequences and songs were used to enliven the film. Another dominant characteristic was the tendency to weave the theme around the eternal love stories. In a way, such films can be regarded as an extension of the Sinhala Nataka.Īnother common fact is that these films had been woven around caste conflicts, marriage and feminine fidelity, drunkenness, the nobility of the poor and the meanness of the rich. Perhaps, you might be aware of lengthy dialogues in classical Sinhala, artificially fabricated background scenes and North Indian songs in our early films. Our Sinhala cinema followed the Sinhala Natakas based on the Parsi and Baliwala Nurtis of North India.
In other words, the South Indian studios had been made accessible to our film producers. These films were better known as ‘Formula Films”. At the time when the first Sinhala film “Broken Promise” was screened, it was inevitable that South India should serve as its motherland.
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