aadaraneeya wassaanaya
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ravindra' s first major role in a feature film was kasun
aadaraneeya wassaanaya
( 2004) .
recent releases include: sooriya arana, aadaraneeya wassaanaya, samanala thatu, aloko udapadi, hiripoda wessa, have attracted sri lankans to cinemas .
aadaraneeya wassaanaya' අාදරණීය වස්සානය' is the debut film directed by senesh dissanaike bandara and the maiden production by ©tomorrow films today private limited 9 / 1, shady grove avenue, colombo 8, sri lanka .
senesh dissanaike bandara සෙනේෂ් දිසානායක බණ්ඩාර is a sri lankan film director and best director award winner for the television drama genre. his first movie aadaraneeya wassaanaya (love in autumn) in 2004 was screened for more than 100 days island wide .
senesh dissanaike bandara සෙනේෂ් දිසානායක බණ්ඩාර is a sri lankan film director for the television drama genre. his first film aadaraneeya wassaanaya (love in autumn) in 2004 was screened for more than 100 days island wide. senesh is a member of the state television arts panel of the arts council of sri lanka .
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popular actress sachini ayendra stanley becomes the first sri lankan artiste to take part in the prestigious ‘world championship of performing arts’ (wcopa) competition, currently in progress at the world championship of performing centre in long beach, california in the usa. singers, musicians, dancers, actors and models are ready to compete before 75 judges from [... ]
popular actress sachini ayendra stanley becomes the first sri lankan artiste to take part in the prestigious ‘world championship of performing arts’ (wcopa) competition, currently in progress at the world championship of performing centre in long beach, california in the usa .
singers, musicians, dancers, actors and models are ready to compete before 75 judges from the entertainment industry at the 20th annual world championships of performing arts, dubbed the olympics of performing arts. sachini who has made magic with some powerful screen roles in films and television, is now showcase her magic on a bigger platform .
‘i am so excited about the event and my biggest dream is to win a medal and bring pride to my country’ said sachini at the press conference held last week to announce the participation .
‘this is the only official world championship in performing arts and i am glad to be the first participant from sri lanka. i will be focusing on acting segments. though i applied i never imagined the international selection panel would choose me for the competition which has some 60 countries vying for honours’ she said .
the kandy hillwood college old girl made her film debut in senesh bandara dissanaike’s ‘adaraneeya wassanaya’ playing the role of madhupani iddamalgoda – which earned her the first award for the best supporting actor at the signis film awards ceremony in 2004 .
not stopping at that she went a step ahead and made quite an impact in movies like ‘sankara’, ‘heart fm’ and ‘angara dangara’. she will be seen in three more movies awaiting release during the coming months .
‘i just completed work on roy de silva’s newest movie which was shot in los angeles and nalin mapitiya’s interesting movie. nita fernando’s ‘swara’ is also awaiting release’ she added .
i hope someone in the industry will particiapate in this competition next year and thereafter to keep the sri lankan spirit flying high’ sachini said .
emerging film maker senesh dissanaike bandara is determined to pursue his own art of film making in his quest for establishing a novel cinema that would really cater to the audience .
i never wanted to be a carbon - copy of any film director or to make a copy of any film ,
senesh stresses in an interview with the stage and screen .
instead, he has come up with his maiden film adaraneeya wassanaya (love in autumn) which he believes would cater to a gap which had been existing in the local film arena for many years .
i saw that sinhala films were not directed at youth and there was a huge gap ,
he explained .
however, senesh admitted frankly that he was not the only film maker making films for young generation .
i am not the only one who thought about young adults .
in 50 years of sinhala cinema, there had been some films for this group, but unlike in other countries, there was no stream of such films .
senesh was always ready to face challenges .
i never saw making films for youth as a big challenge. however, when making a film for youth, it has to be original and authentic .
also you must have serious thoughts when you are making a film for specific group .
making a film was a dream cherished by senesh for a long - time .
i had a dream of becoming a film maker. if i am making a film, it has to be seriously done by myself .
senesh was a bit critical of the local film makers' attitude .
we are always trying to make films for the whole family. it is not quite a wise thing to do .
senesh attributed this to the lack of a proper audience for the cinema in sri lanka .
people have other entertainment such as television, video etc. so, the biggest challenge is not becoming a film maker but having a healthy audience. actually, you should have a movie running without failure at least for two weeks .
he stressed that in order to become a successful film maker, one should clearly understand the audience .
my films are people to enjoy and i don' t use my films to preach the audience .
it does not mean that i am not concerned about the country' s social requirements. i am not a messenger and i don' t believe in giving moral or messages through films. i don' t want to make opinions from films .
he was also satisfied about the acting of newcomers to the silver screen such as chathurika peiris and roshan rajapakse who are playing the lead roles .
they are ready to take any experience. they may be less experienced - but they did a good job. also, i don' t believe in the word called
amateur .
replying to a question on the success of the film, senesh said he was not still in a position to measure the success .
i am still experiencing. on the other hand, it is a myth that whatever i produce will be accepted by the audience .
senesh also explained that the sri lankan audience was very influential .
they know what is good and bad. the audience is awaiting new things. they don' t want something stale. the audience is concerned whether they are treated properly .
he was also of the view that the success of adaraneeya wassanaya could be measured from his second film .
to see whether i have successfully addressed the audience, i need to do a second film. however, i am happy that the sri lankan audience is caring for something creative, honest, authentic and serious .
the latest children' s theatre production' walas pavula' (bear family) presented by the lanka children' s and youth theatre organisation (lcyto), better known as play house in kotte, the leading children' s play producer in sri lanka, will be on board again on june 27 at the lumbini theatre and on july 4, at panadura town hall .
based on the fairy tale
the three bears and golldilocks
, the script has been developed adopting it to suit the local audience by veteran children' s playwright and theatre director mrs. somalatha subasinghe who is also the founder chief of' play house' in kotte.' walas pavula' is directed and choreographed by dr. chandana aluthge, an artiste of the new generation groomed at the play house in kotte .
on june 27' walas pavula' will be staged at 3. 30 p. m. and 6. 30 p. m. at the lumbini theatre in aid of mystic rose poor relief fund while on july 4 at panadura town hall with the courtesy of ceylon biscuits ltd. , the manufactures of' munchee', who will have its munchee scholarship awards for needy students too at the same venue on that day .
chandana, a senior lecturer in economics at the university of colombo, has been one of the senior members of' play house'. an actor, vocalist, dancer, lighting designer and now a director, he has also excelled in many other aspects relating to stage productions throughout his career as a theatre artiste .
' walas pavula' is the debut play directed by chandana and it is a musical and the production style of the play has been developed so as to give the whole family an aesthetic journey of entertainment. tharupathi munasinghe has composed music for the play .
walas pavula cast comprises wishvajith gunasekera, sanjaya hettiarachchi, chamila peiris, prasanna mahagamage, niranjala manjaree, sharmain gunaratne, suresh fernando, mayura kanchana, nayomi gunaratne, thilokanee gunasekera, chamila priyanka, dinuki de silva, pramudi karunaratne, hiran abeysekera, ishara wickramasinghe, champika kannangara and a number of new actors trained at play house in kotte .
arogya parama labha nretta pooja along with variety dance recitals by kalasuri padmini dahanayake ariyadasa will be staged tomorrow (27) at 6 pm at the elphinstone theatre, maradana, in aid of the cancer hospital, maharagama .
padmini, a student of chitrasena and vajira under whose guidance learnt kandyan dancing, joined srimathi rukmani devi arunidale' s kalakshethra, the college of fine arts chennai in 1954 and completed her classical bharatha natyam diploma course in april, 1959, being the first sri lankan to have obtained a diploma from that institute .
once back in sri lanka she had her maiden performance
arangethram
at the royal college hall with the then prime minister wijayananda dahanayake, her paternal grand father as chief guest .
joining the education department as an instructor of dance she worked for well over 25 years and was a visiting lecturer on bharatanatyam at the institute of aesthetic studies of the university while participating in various cultural activities and also had performed in various parts of the country. she was honoured with the kalasuri award on may 22, 1991 .
with a commendable experience at her command she began her own institute
shri padma ranga
, school of dancing in 1982 and she had presented 73 arangethrams of her students .
padmini, married to l. l. ariyadasa, a senior executive of cold stores, is now a proud mother of ms. rangana navodini udayakumara, who is also a diploma holder in bharatha natyam from rukmani devi arunidale' s kalakshethra, the same institute, padmini attended. her son, chandreen jayawanth, domiciled in australia, works as a pastry chef .
produced by lake house copyright © 2003 the associated newspapers of ceylon ltd. comments and suggestions to: web manager
adaraneeya wassanaya ...
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
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this was bandara' s directorial debut. the film tells a story of a middle class boy coming from upcountry falls in love with an upper class girl in colombo who both are teens and still schooling. the arranged marriage of the girl and her sickness bring all the miseries to the young couple. finally, they challenge at the conventions by demolishing the structures for a better tomorrow .
the film is based on wassana sihinaya, a novel by upul shantha sannasgala .
the two main actors of the film were definitely new faces for the film screen but known faces by the masses. the stars would contribute in the supporting roles .
all the singers are stars with big names and are already very popular among fm listeners .
the production was designed to complete in 2002 and post - production in 2003. the screening was scheduled in mid - 2004 .
kasun bandara seneviratne (roshan ravindra) sets fire the boarding to get rid of all the unforgettable memories of chapa gangadarie abeynaike (chathurika pieris) the sweetheart when he gets the letter from london, stating she was raped by the husband to be .
kasun represents upcountry, joins thurstan college as an al student in bio science, but who has aesthetic senses in creativity. chapa the singer happens to be met by kasun at a school function and both become mutual admirers .
chapa has been sick for years and also arranged to marry own cousin rohan the same who has tried several times to rape her. chapa whose parents employ in abroad, and her arranged husband is no more faithful, finds affection, security and empathy in kasun who is a peer .
kasun solely decides to save chapa from rohan and gets hammered and wounded himself. after father' s death chapa’s mother returns and finds rohan an evil. chapa also falls severely ill and happened to be operated in london. chapa’s mother risks her only daughter’s life at rohan’s money and denies kasun and his loyalty .
kasun becomes the loser in colombo. chapa is raped by rohan in london .
who learns language from him. madhupani loves kasun the teacher but kasun has reasons not to begin an affair with a younger student .
returned chapa is hurt by rohan, now the husband in every way possible, remembering past with kasun. chapa’s mother confesses at kasun and wants the daughter to be saved at any cost .
kasun' s school mate niranga and now room mate gihan, with uththara the friend of chapa encourage and assist kasun and chapa to challenge all the selfish structures made by the society and reach the world of humanity, love, trust could be shared and cared .
technical direction & co - producer - bandula weerakkody for telestar video productions private limited .
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the film is bandara' s directorial debut. it tells the story of a middle class boy from the highlands who falls in love with an upper class girl in colombo. they are both high school students. the girl' s arranged marriage and her illness make life difficult for the young couple. they challenge cultural conventions to succeed. [ 5 ] the film is based on wassana sihinaya, a novel by upul shantha sannasgala. [ 6 ]
kasun bandara seneviratne (roshan ravindra) sets fire to his boarding school to get rid of the memories of his girlfriend, chapa gangadarie abeynaike (chathurika pieris) after he receives news that she has been raped by her husband to be. kasun, a country boy and chapa meet at school. chapa is a singer and kasun is artistic .
chapa has been unwell for years. it is arranged she should marry rohan, her cousin. rohan tries to rape her a number of times. chapa, whose parents are employed abroad, finds affection, security, and empathy in kasun. when kasun tries to protect chapa, he is beaten by rohan. chapa’s mother risks her only daughter’s life for rohan’s money and denies kasun who falls into poverty in colombo .
two years later, kasun is visited by madhupani (sachini ayendra) [ 7 ] kasun is madhupani' s language tutor. madhupani loves kasun, but kasun does not reciprocate .
chapa’s mother changes her mind and wants kasun to save chapa. kasun and his friends try to do this .
this page was last edited on 14 may 2018, at 06: 07 .
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this was bandara' s directorial debut. the film tells a story of a middle class boy coming from upcountry falls in love with an upper class girl in colombo who both are teens and still schooling. the arranged marriage of the girl and her sickness bring all the miseries to the young couple. finally, they challenge at the conventions by demolishing the structures for a better tomorrow .
chapa has been sick for years and is arranged to marry his own cousin, rohan, that he has attempted to rape several times. chapa whose parents employ in abroad, and her arranged husband is no more faithful, finds affection, security and empathy in kasun who is a peer .
heart broken and worried kasun is visited by madhupani (sachini ayendra) who learns language from him. madhupani loves kasun the teacher but kasun has reasons not to begin an affair with a younger student .
kasun flashes in the accident and that is where we see the story unfold .
happy birthday senesh dissanaike bandara... - nalanda college, colombo, sri lanka. | facebook
sachini ayendra stanley (සචිනි අයේන්ද්‍රා ස්ටැන්ලි) born on 8 april 1982, is a sri lankan film actress who works in sinhala movies .
the sarasaviya best female playback singer award is presented annually by the weekly sarasaviya newspaper in collaboration with the associated newspapers of ceylon limited at the sarasaviya awards festival .
senesh dissanaike bandara සෙනේෂ් දිසානායක බණ්ඩාර is a sri lankan film director and best director award winner for the television drama genre .
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debut film directorial venture by senesh in 2004. recoded box office in the year while winning awards and appreciation by critics for the work. this was shot in ...
senesh was educated at nalanda college, colombo. senesh is a graduate of university of kelaniya, university of sri jayewardenepura and new york film academy, china radio & tv corporation for international techno - economic cooperation .
senesh started his media career as a television program producer at sri lanka rupavahini corporation (national television) in 1991 as a teenage school leaver. senesh produced musicals, talk shows, sports coverage, documentaries, entertainment and television magazine programs such as the news station, udaa vikashaya, rasa kalasa, visi ekveni peya and a current affairs magazine program called 9. 05 .
senesh was one of the pioneer music video directors in sri lanka, with his musical / magazine program called yaathra (voyage) (1995–1997). senesh has also been a television presenter and a host since 1997 of television talk shows, entertainment and music programs such as gee hatha, ayubowan, rividina sithumina, rhythm chat, watts 33000 .
in 2000, senesh directed a television drama series named fantasy avenue for sirasa tv. it led him to direct a made - for - tv or telefilm for national television during 2001 called sulanga wenna numba ethakota for the world habitat day 2001 .
his other television drama serials are pulina praasaada (sand castles) 2003, arunoda kalaapaya (twilight zone) 2005, rala bindena thena (breakwater) 2007, wehi pabalu seala (raindrop satin) 2010. rala bindena thena won the maximum number of awards in all three national television based award festivals that was held in sri lanka in 2008 and also rala bindena thena awarded him the best director award in the festivals .
senesh was invited for his second movie heart fm (film) venture by eap films and theaters in mid - 2006 and the movie heart fm (sihina mandaakini) was released in january 2008. this 35mm cinemascope / dts film had the earliest experience of di (digital intermediate), do (digital optical) involvement in sri lankan popular cinema .
senesh has published a handbook on single camera television techniques roopalekha – aadhunika television nishpaadakawarayage athpotha the sinhala translation of prof wayne levy (australia) and asian mass communication and information center (singapore) publication in 1994 and he is the initial editor of mawbima – sandaeliya the sunday tabloid since 2006 to 2007 .
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= = the plot = = the story is same as chhoti bahen. it is based on strong family bondage between two brothers satyam (ntr) and shekhar (sobhan babu) and their sister sharada (chandrakala). = = crew = = = = soundtrack = = = = boxoffice = = ...
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a short film is any film not long enough to be considered a feature film. although no consensus exists as to where that boundary is drawn, the academy of motion picture arts and sciences defines a short film as
an original motion picture that has a running time of 40 minutes or less, including all credits
. the term featurette originally applied to a film longer than a short subject, but shorter than a standard feature film .
the increasingly rare term short subject means approximately the same thing. an industry term, it carries more of an assumption that the film is shown as part of a presentation along with a feature film. short is an abbreviation for either term. short films are often screened at local, national, or international film festivals and made by independent filmmakers for non profit, either with a low budget or no budget at all. they are usually funded by film grants, non profit organizations, sponsor, or personal funds. short films are generally used by filmmakers to gain experience and / or prove their talent in order to gain funding for future films from private investors, entertainment companies, or film studios .
senesh is a committee member of the state television arts panel of the arts council of sri lanka .
senesh who was educated at nalanda college, colombo. senesh is a graduate of university of kelaniya, university of sri jayewardenepura and new york film academy, china radio & tv corporation for international techno - economic cooperation .
senesh is a ma and ba hons. (special) holder in mass communication also diploma holder in journalism and creative writer - ship and began his academic career as a lecturer in performing arts department of university of colombo. he is also a visiting lecturer on film studies and television studies to national universities and institutes and employed at university of vocational technology, ratmalana in sri lanka as senior lecturer and head of film and television production technology .
sri lankan cinema encompasses the films made in sri lanka. it is a fledgling industry that has struggled to find a footing since its inauguration in 1947 with kadawunu poronduwa produced by s. m. nayagam of chitra kala movietone. sri lankan films are usually made in the sinhalese language, as well as in tamil language .
in the first nine years most films were made in south india and followed the conventions of indian cinema. studio shooting was the norm, with indian style sets erected in film studios. even though it is popularly held that rekava, made in 1956 by pioneer director lester james peries, was the first sinhala film to be shot completely out of studio, it was really the film
gambada sundari
, starring kingsley jayasekera and sheela peiris in 1950, which was the first film shot outside studios. it was also the first sri lankan film where, like in
rekawa
, the dialog was recorded on the spot. this was because the film was shot on 16mm, using an auricon sound - on - film camera which recorded the sound on the 16mm film optically, unlike in the case of where the sound was recorded on a kinevox 35mm magnetic recorder. the film was later' blown - up' to 35mm and was screened in colombo in 1950 .
though
rekawa
was acclaimed by local and international critics, the film failed to find an audience in the country and was a box office failure. films continued to follow formulaic storylines borrowed from india up through the early 1960s despite such efforts as sandesaya and kurulu bedda .
in 1964, lester james peries again contributed to the development of sri lankan cinema with gamperaliya which was the first sinhala film to feature no songs and like rekava shot completely outside the studio. it garnered massive praise for portraying sinhala culture in a realistic manner and was hailed by critics and audiences alike. the producer anton wicremasinghe was awarded the silver peacock at the new delhi international film festival for gamperaliya. following this breakthrough, several artistic sinhala films were made in the late - 1960s including sath samudura by professor siri gunasinghe, ably supported by exquisite cinematography by dr. d. b. nihalsinghe .
during the 1970s several talents came to the forefront while commercial cinema continued to steal storylines and plots from indian films. these include dr. d. b. nihalsingha with
weilkatara
- sri lanka' s first film in cinemascope ratio wide screen in 1972; vasantha obeysekera who followed up his well - received debut ves gatho with a slew of successful films culminating with palangetiyo in 1979. another major director who stepped forward during this time is dharmasena pathiraja who examined the tensions of city youth in such works as bambaru awith and ahas gauwa. artist and poet mahagama sekera' s sole film thun man handiya is also an important film in sri lankan cinema released in 1970. sumitra peries, the wife of lester james peries, also struck out during the 1970s with work that looked at the conflicting roles of women in society. her work include gehenu lamai and ganga addara .
over the next few decades, artists such as tissa abeysekara, chandran rutnam, dr. d. b. nihalsingha, udayakantha warnasooriya, h. d. premaratne, ashoka handagama, prasanna vithanage and vimukthi jayasundara have attempted to breathe new life into the industry. nihalsingha was an accomplished cinematographer as well as an editor: so his films has an input which was special and brought a viewpoint to all his films, most of which focused on the exploited women .
vithanage' s film purahanda kaluwara is widely considered one of the best movies made in sri lanka as is jayasundara' s sulanga enu pinisa which won the coveted camera d' or for best first film at the 2005 cannes film festival .
during sri lankan civil war several films have begun to tackle gritty subjects such as family relationships, abortion and results of the conflict between the military and brutal tamil tigers in the north. director asoka handagama especially has drawn criticism for pursuing such material in his work .
in the recent years high budget films like aloko udapadi, aba (film) and maharaja gemunu based on sinhalese epic historical stories gain huge success .
1901 marked the introduction of film to sri lanka (then called ceylon) when a film was shown for the first time in the country at a private screening for the british governor west ridgeway and prisoners of the second boer war. it was a short film that documented the british victory in the boer war, the burial of queen victoria and the coronation of edward vii. more english screenings followed and attracted british settlers and anglicized sinhalese .
cinema in sri lanka became a public affair due to the efforts of warwick major, an englishman who developed
bioscope
showings. these were films screened out in open areas and makeshift tents. the first permanent theaters were built by madan theaters in 1903. the company showed indian films and achieved success, prompting the development of theaters by the rival olympia .
in 1925 rajakeeya wickremaya (english: royal adventure) became the first film to be made in sri lanka. dr. n. m. perera played the lead in the film which was shown in india and singapore. however this film reels got burnt before they were shown in sri lanka. in 1933 the film paliganeema was screened in colombo .
during the 1920s and 1930s films with american stars like charlie chaplin, greta garbo, john barrymore, rudolph valentino, and douglas fairbanks, jr. were popular in sri lanka. the shiek and the thief of bagdad were especially popular. in 1932, the first sound film to be screened was shown at the regal cinema, titled
the dream .
by the 1930s indian films started to surpass english films in popularity. bilwa mangal set an early record for sri lankan box office earning .
the beginnings of cinemas spread was seen when the indian madan circuit established elphinstone cinema in colombo as a part of his extensive cinema chain in asia. empire cinema, which became the longest functioning cinema in sri lanka was established in 1915 and continued to function till 2003 when it was demolished to make way for a commercial building in colombo
south indian producer s. m. nayagam played an important role in the development of the first sri lankan film. in 1945, nayagam founded a company named chitrakala movietone and constructed a studio in madurai, india for the purpose of making a sinhala film. after considering several options, he decided to build the film around the historical love story of saliya and asokamala and held a contest to find a suitable screenplay; the winner was budding artist shanthi kumar. due to disagreements however this project fell through and nayagam broke a deal with dramatist b. a. w. jayamanne to film his popular play kadawunu poronduwa. [ 1 ]
kumar [ 2 ] determined to film his script left nayagam' s company and convinced the ceylon theaters group to fund his film. faced with a more daunting task of putting together the film from scratch, the ashokamala project began filming in coimbatore about two months after the production of kadawunu poronduwa had initiated. naygam' s film would win out screening at the mylan theater on january 21, 1947. [ 3 ] ashokamala was screened three months later in april 1947 at the elphinstone theater. [ 1 ]
both films were popular with audiences but derided by critics who found them to be derivative of south indian cinema. [ 2 ]
of the few filmmakers interested in pursuing a truly indigenous art form in these early years, sirisena wimalaweera was the most prominent. [ 5 ] in his work, wimalaweera researched sri lankan history when depicting historical characters like king asoka, who oversaw the introduction of buddhism to the island and saradiel, a robin hood - like character. [ 1 ]
k. gunaratnam was another major producer in this period [ 6 ] breaking into the scene with the technically skilled sujatha made at the state of the art modern theaters studio in salem, india. it was highly successful and influenced popular cinema over the following decade. it was revolutionary in its high production values and incorporation of north indian cinema into the accepted south indian model. still it failed to capture the true nature of sinhalese life or create anything uniquely sri lankan. [ 1 ]
in 1956 documentary filmmaker lester james peries and his fellow film technicians william blake and titus thotawatte broke away from the government film unit to produce what they hoped would be a truly sinhalese film that would revolutionize sri lankan cinema. [ 7 ] in all facets of the creation of rekava, the trio strayed from tradition shooting completely outside of the studio, creating an original story with no basis in literary or historical material and utilizing a mostly inexperienced cast [ 8 ] (with a few exceptions i. e. d. r. nanayakkara) .
popular film continued in the indian mould. there was great interest in the cinema. the sinhala daily ,
lankadipa
launched the first film festival where
deepasika
awards were given out .
though rekava failed to influence popular cinema which continued to imitate indian cinema, it did draw out the efforts of some small independent filmmakers who coalesced into units. the most important group in this period, kurulu rana, was led by screenwriter p. k. d. seneviratne, producer john amaratunga and actress punya heendeniya .
amaratunga in his pursuit to follow up rekava came across seneviratne' s radio drama kurulubedde and enlisted him to adapt it into a film. though it maintained certain formulaic elements, the film was free of overt indian influence and contained various elements of sinhalese culture. actress punya heendeniya broke ground in her role portraying a truly sinhalese character in contrast with the female roles of popular films modeled after indian actresses. it was a critical success within sri lanka and was praised for its realistic portrayal of sinhala village life. the group followed up with the thematically similar sikuru tharuwa in 1963. [ 1 ]
at this time, the government film unit productions were making their mark, particularly, pragnasoma hettiarchi' s
makers, material and motiffs
which won the gold medal at venice international film festival in 1952. hettiarchi was to repeat this feat again in 1972 with
centenary of ceylon tea
.
the success of gamperaliya changed the course of sri lankan cinema significantly. following its release, many films attempted to adapt the realistic style of the film and took up location shooting previously shunned .
seneviratne again emerged in this period with a script about village life titled parasathu mal. this time he had the support of the wealthy producer chitra balasooriya [ 13 ] who would not fall prey to financial difficulties encountered by amaratunga. balasooriya was deeply interested in creating an artistic film in the vein of gamperaliya and enlisted lester' s wife sumithra peries as technical director and gave the budding actor gamini fonseka a chance to direct. fonseka had served in a similar capacity on rekawa. also among the crew was cameraman sumitta amarsinghe who had trained with the gfu and was adapt at outdoor shooting. [ 1 ] the film would be a critical and popular success. [ 13 ]
serendib productions responded to the artistic mood in the air in 1965 with saravita [ 14 ] starring a comedic actor, joe abeywickrema, for the first time in sri lankan cinema. it dealt with slum life and the criminal element within it and was awarded most of the national awards that year for film. titus thotawatte who had broken away from lester james peries after sandesaya directed chandiya the same year avoiding overt crudities prevalent in the action genre made within the country. [ 1 ]
siri gunasinghe' s sath samudura released in 1966 was the biggest critical success in the wake of gamperaliya. the film was praised for its realistic portrayal of a fishing community and acting from a cast that included denawaka hamine, edmund wijesinghe and cyril wickremage. also drawing acclaim were gunasinghe' s novel film techniques such as his extensive use of close - ups. working close with gunasinghe on the script and the direction was vasantha obeysekera. the editing and photography was handled by d. b. nihalsinghe. both would go on to be major filmmakers on their own. [ 1 ]
gdl perera' s
sama
was followed by a film on contemporary city settings in dahasak sithuvili. gdl joined up with the d. b. nihalsingha' s famously fluid hand - held camera work of the
sath samudura
fame, utilizing subjective camera and a sepiatone filter for the first time in sri lankan cinema. [ 15 ] perera and his group had first came to fame with saama, a stylized but faithful observance of village life. [ 1 ]
other major films of this period include the debut directorial efforts of obeysekera (vesgatho) and nihalsinghe lanadmark film, (welikathara) .
welikathara
was tissa abeysekara' s first screenplay - he was billed as
additional dialolgue writer
up to that time. nihalsingha' s recognition of tissa abeysekara' s superlative writings skills launched him on a career as the foremost screenplay writer in sri lanka .
welikathara
was to become one of the 10 top films of sri lankan cinema. nihalsingha' s refershingly fluid camera work was noted by this time. he combined the facets of direction, cinematography and editing in
welikathara
to create an epic in cinemascope for the first time in sri lanka .
welikatara
was to become one of the
10 best
films of sri lanka .
an independent student production overseen by ranjith lal (nim wallala), songwriter mahagama sekera' s autobiographical effort (tun man handiya), the maiden production of piyasiri gunaratne (mokade une) and sugathapala senerath yapa' s hanthane kathawa which introduced the to be matinee idol vijaya kumaratunga .
apart from that, the movie soorayangeth sooraya (english title: - the river of love) is a landmark film for the sri lankan (helawood) cinema where a trend of thriller, action and musical films emerged. these commercial movies, although foreign transliterations, discuss the problems of poverty, blind law, injustice & love. hence, critics are in a zoom lens against these movies .
in 1971, a socialist government which sought to overcome the dominance of screen time in sri lanka by tamil and hindi films came to power in the country. foreign film domination had resulted in domestically produced films being relegated to 20% of the screen time while foreign films occupied 80% (60% tamil, 10% hindi, 10% english). the government which won power had promised to redress this imbalance. it established the state film corporation by act no 47 of 1971, charged with the promotion of national film and giving and making available a wide variety of films to the public .
the sfc instituted a film distribution system through which all films produced in the country were ensured exhibition according to system of precedence. quality control of the cinemas was established by a system of inspection and checks on equipment .
the cost of imported film was reduced by 75% because of the monopoly buying by the sfc: the same number of tamil films continued, albeit at greatly reduced prices .
the result of the measures was that the film admissions which were 30 million in 1972 grew to 74. 4 million by 1979. the domestic film screen time share grew from 20% to 58% . the number of cinemas grew to 365 by 1978 – the highest number. by 2010, this number was down to 147 .
this was the best evidence that the system prior to the sfc was not market - oriented and that the demand was suppressed. it required the sfc to cater to the suppressed and pent - up demand, resulting in an unprecedented surge in yearly admissions within seven years .
titus thotawatte and lester james peries were the most prominent artists during this period making artistic films. thotawatte directed such films as hara lakshe, sihasuna, sagarika and mangala which united technical skill with themes that appealed to mainstream audiences. lester james peries was more successful in his work in this period, creating some of his most important work despite the restrictions instituted by the government. [ 16 ]
peries' nidhanaya, released in 1972, is considered his masterpiece [ 17 ] and was adjusted the best sri lankan film of the first 50 years in 1997 by a government board. it was praised for its skillful direction by peries' and the inspired acting by gamini and malini fonseka. it was another international success for peries' winning the silver lion of st. mark award at the venice international film festival and being selected one of the outstanding films of the year, receiving a diploma, at the london film festival. [ 18 ] his subsequent works of the period were also critical successes (desa nisa and madol duwa) .
dharmasena pathiraja, who had worked on yapa' s hanthane kathawa, [ 19 ] emerged with his debut directorial effort, ahas gauwa, in 1974. it served to capture the spirit of the dissolute urban youth and provided a major artistic venture for actors like cyril wickremage to prosper in. obeysekera pursued a similar theme in his work valmathvuvo .
party came to power and some of the restrictions instilled earlier were removed. but this removal only in respect of production, which resulted in a flood of shoddily made films under the unrestricted credit given by anton wicremasinghe to anyone. some 100 films were waiting for release as cinemas, in a curious contradiction, was forced to show each and every film so made .
as a result, the peak film attendance of 74. 4 admissions of 1979, began to drop and has been declining uncontrollably till now .
it is popularly held that television was the cause of this decline. but sri lanka television broadcaster rupavahini corporation commenced transmission only in 1982, by which time island - wide cinema attendance had dropped to 51 million, from the peak of 74. 4 million of 1979. the presidential committee to investigate the film industry in 1985 established that there was a major drop in attendance for tamil films in 1980. since television went islandwide only in 1983, this drop in film admission was due not to television but to new tamil films not being screened .
sumitra peries, lester james peries' wife, made her directorial debut with gehenu lamai in 1978. it examined the effects of societal constraints on a rural girl and secured some critical applause in addition to box office success being selected as an outstanding film of the year to be presented at the london film festival and receiving the jury award at the carthage international film festival. in her first film appearance, vasantha chathurani was praised for her restrained portrayal of the lead role .
peries' next film ganga addara (1980) captured the imagination of sri lankan audiences becoming a huge box office hit and breaking earning records in the country. critics were also impressed with the film as it went on to capture many of the national awards given to film in the country and was awarded a diploma at the south asian film festival .
is widely held to be his pivotal work dealing with social tensions between fishing folk and city youth. pathiraja' s film
was made in tamil intending to contribute to the development of cinema featuring that language in the country. though well made ,
followed the dreary lives of an old soldier, a prostitute, an alcoholic and a thief intending to cast light on their plight. pathiraja went into hiatus following the making of the film .
in 1979. it dealt with the difficulties of urban youth. his next film
with the flooding of films directed by
anyone
under the national film corporation chairman anton wicremesighe during which hundreds of films were produced creating a 5 - year line of films waiting for release, being no match for the increasing rise of television coupled with the beginning of a civil war, film earnings began to drop as sri lankans took to staying at home instead of frequenting the theater .
one of the most important filmmakers of sri lankan cinema, prasanna vithanage directed his first feature film sisila gini ganee in 1992 and his second anantha rathriya in 1995. the latter was a large critical hit being shown at several international festival and securing several awards. vithanage' s followed the work two years later with pawuru walalu a mature drama that featured a performance by former star nita fernando after a long hiatus. it was also lauded by critics. his final feature of the decade was purahanda kaluwara that examined how the sri lankan civil war affects families of soldiers. featuring a contemplative performance by joe abeywickrema in the main role, the film is considered vithanage' s finest work.
adaraneeya wassanaya ( english : the romantic rainy season ) is a 2004 romantic musical film directed by senesh dissanayake bandara . it is the first production by tomorrow films today . 
adaraneeya wassanaya (english: the romantic rainy season) is a 2004 romantic musical film directed by senesh dissanayake bandara. it is the first production by tomorrow films today.
adaraneeya wassanaya (english: the romantic rainy season) is a 2004 romantic musical film directed by senesh dissanayake bandara. it is the first production by tomorrow films today.