thun man handiya
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1970 – mahagama sekara’s film thun man handiya receives the friendship award from rajaye lipikaru seva sangamaya .
duration - 3: 23. - atheethayen ganga gala basei, mahagama sekara, thun man handiya. wmv
thun man handiya (sinhala, three way junction) is a 1970 dramatic film made by sri lankan artist mahagama sekera .
thun man handiya (1970) - photo gallery - imdb urltoken based on the famous novel thun man handiya, this movie demonstrates a fraction of life of a youth who reflects back to his childhood and steps to a new era of ...
thun man handiya (1970) - imdb urltoken drama... based on the famous novel thun man handiya, this movie demonstrates a fraction of life of a youth who reflects back to his childhood and steps to a new era of ...
thun man handiya is a movie starring joe abeywickrama, dharmasena athukorala, and kumara balaooriya. based on the famous novel thun man handiya, this movie demonstrates a fraction of life of a youth who reflects back to his childhood and steps to a new era of life when he moves to the... see full summary »
1971 - thun man handiya wins him the award for the most promising director at the awards festival of the film critics and journalists of ceylon in 1970 - 1971 .
based on the famous novel thun man handiya, this movie demonstrates a fraction of life of a youth who reflects back to his childhood and steps to a new era of life when he moves to the governmental art academy .
speaking about his widely acclaimed role as welikathara’s gorin mudalali, joe noted, “i had only acted in a handful of films like sarawita and thun man handiya which portrayed me in serious roles. all the others were comic characters .
based on the famous novel thun man handiya, this movie demonstrates a fraction of life of a youth who reflects back to his childhood and steps to a new era of life when he moves to the... see more »
thunman handiya theme song - mahagama sekara fans | facebook urltoken thunman handiya theme song... . thunman handiya theme song. image may contain: 1 person, text · 448 likes5 comments93 shares. english (us); español ...
a young man fights for his lost bike with courage. honest gangster with his foolish brother who destroyed everything. this is a remake of tamil movie polladhavan aka. ruthless man (2007 )
1. mmxi 2. forests for people 3. united nations educational, scientific and cultural organisation, or unesco 4. egodahage george wilfred alwis samarakoon 5. mahinda college, galle 6. thun man handiya (1970) 7. year of the rabbit (or hare) 8. michael clarke 9. dr martin luther king, jr. (1929 – 1968) 10. new zealand 11. germany 12. spanish 13. estonia 14. india 15. hara lakshe (four lakhs )
the book takes the reader on an epic journey through the nastiest things to have afflicted mankind – from the dawn of the man, to the present day. chronicles of war, earthquakes plagues and floods .
just as his early performances in comedy were tempered by the serious, the dramatic, his later performances in drama were tempered by the unserious, the flippant. you can discern this in welikathara, his second dramatic outing after thun man handiya: in one scene he is a dangerous, cape fear - esque antagonist - from - the - past, and in the very next he bottles up all his rage, his motives, with calculated, witty asides (his first encounter with swineetha weerasinghe’s character geetha, on the beach and around her car, plays around with this dualism). even in pathiraja’s bambaru avith, as the villain anton aiya, those asides temper his evilness rather incongruously (“dore? dore nemeyi, janele! ” he shouts at an errant lorry driver). joe had wanted to be more than a humorist; in becoming a dramatic, unlikeable antagonist, though, he was finding it difficult to escape being that humorist. it just kept coming back .
the most difficult person to be is the funny man. by that i don’t mean the solitary satirist, the one - man - act savant whom the american cinema took out of the vaudeville houses and popularised: chaplin, keaton, lloyd, the marx brothers. i am talking instead about the comedian as we understand him today, the sort who can work with a horde of co - stars and still retain his identity. part of the reason why chaplin appears so refreshingly - funny, even today, is his individuality, his belief in standing apart on his own. not everyone can be a chaplin, of course, but everyone can easily be or emulate the one - man - savant that he was. retaining what forms you up as a distinct personality, while keeping your audiences laughing and coming for more, is considerably difficult, not least because we have short attention spans .
like some of his colleagues who took to the cinema in the 1970s, somasiri dehipitiya came from a largely working class background, as a civil servant. as an actor he had quite a number of attributes he could be justifiably proud of – he was gruff, he was almost always frowning, he rarely smiled, and perhaps more than anything else, he could appear sturdy and gentle at the same time. no doubt he used all these and more, so much so that it’s truly astonishing that a man of his range of talent and experience never, for one solid moment, became a leading man. he was more or less like richard widmark, the american actor who never got beyond half a dozen or so leading roles despite his gruff mould .
because it’s tough being the funny man, it’s tough getting people to laugh convincingly. if we are extrapolate lionel abel’s thesis, we can say that what is true for his conception of western tragedy (as thriving on self - consciousness) is true of the general conception of comedy, in both theatre and cinema. the funny man can’t betray his ability to make us laugh without betraying himself, which is why comedy in general betrays the falsity of its own medium: through counterfeit, deception, moral ambiguity. it’s no cause for wonderment, then, that comedy in sri lanka is, if i may be politically - incorrect here, terribly self - defeating: the men and women who try to make us grin immediately yield to their own awareness of how absurd they are .
these were the ultimate tragic figures of our cinema, more tragic than tony’s, whose characters were all thwarted not because of outside forces, but because of personal inadequacies. in becoming the supreme comedian of his time, to be equalled somewhat by vijaya nandasiri, joe had become a supreme tragic figure. by playing around with these two opposites, rather subtly, he gradually became the funny man that we’d always wanted, who could keep us transfixed to his face throughout a film .
joe was never solitary, never alone, but at the same time he never made us interested in his own back story. towards the end of hal ashby’s being there we see the protagonist (peter sellers) literally walking on a lake (is he god? jesus ?). throughout the story our attitude towards him is tempered by our consideration of him as an everyday, ordinary man who might have stepped out from anywhere. he keeps his benefactor happy, his daughter consoled but unfulfilled, and their family doctor suspicious. this curious blend of happiness, consolation, and mystery is what makes up joe’s most recognisable performances: we don’t know where he’s from, only that he’s there to placate the main character, and with the main character, us .
the reason for this, obviously, was that these men and women were all from the theatre. so was joe (his was initiated into the cinema through the studios of sirisena wimalaweera, who was no cineaste), but the difference with him was that he didn’t enter the movies, he downright conquered them. and the timing couldn’t have been more right. gamini fonseka had materialised at a time when our heroes and villains were borrowed from bollywood; he became the first real onscreen hero we could claim. tony ranasinghe had materialised at a time when we were getting fed up of those heroes flaunting their masculinity and making escapades from even the most inescapable dilemma; he became our first everyman. joe, going by that, materialised when we were getting tired of heroes and villains, and ordinary people being stumped by their sense of inadequacy. we wanted to laugh, but in a different way: we wanted someone who could be both a hero and an ordinary man to tickle us into laughter .
kadawunu poronduwa was the first film to be made in the sinhala language; it is generally considered to have heralded the coming of sinhala cinema. it was first shown on january 21, 1947 at the kingsley cinema in colombo, sri lanka. plot: ralahamy, a member of high status, dies leaving his family in debt after having squandered his fortune through extensive drinking and other vices. to get back into wealth, ralahamy' s wife tackla pushes her daughter ranjani to get married to a wealthy older man victor with a child through an earlier marriage. in this process, samson, ranjani' s boyfriend, who had tried extensively to get the family back into good graces going so far as to pay off their debts, is spurned. he then goes abroad to win a fortune. when samson returns he learns of ranjani' s engagement to victor and tries to reach her through letter. his letters are hidden from her however, and rumours spread that samson is now a cripple. ultimately the truth is... more
mahagama sekara was a legendary poet of the 20 th century in sri lanka. he was born on 7th april 1929, in radawana, colombo, sri lanka. he was the only child of maha gamage jhon appuhami (father) and ranawaka arachchige rosalin (mother). mahagama sekara was also known as a great sri lankan novelist, translator, artist, playwright, lyricist, filmmaker, philosopher and teacher. he is considered as one of the most significant figures in the sinhalese poetry .
initially, he entered the government school in radawana in 1934. in 1948 he then entered the government college of fine arts. finally, in 1950 he entered the teacher training school in nittabuwa and left it in 1952 as a sinhalese trained teacher. in 1981, the university of sri jayawardenapura awarded him the degree, doctor of philosophy (phd) .
mahagama sekara was well known as a poet of the modern sinhala literary tradition. his writing occasionally shows a buddhist influence, and blends the themes like humanity and the reality of life. he was also influenced by french free verses, english, and japanese haiku .
mahagama sekara passed away on the 14 th of january 1976, and it is still considered as a tragic loss to the sri lankan poetry and literary. he was 46 years old when he died from sudden cardiac arrest .
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laksha ganan
- j. a. milton perera, c. t. fernando, anton rodrigo and others (saravita, 1965 )
hinsaren awa
- w. d. amaradeva and sunethra sarachchandra (wasanthaya dawasak, 1979 )
mee wadayaki jeevithey
- c. t. fernando (kauda hari, 1969 )
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hotel transylvania 3: summer vacation stars plan their dream summer getaways to some memorable movie settings .
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a group of sad slum residents, living on the limits of society under immense pressure, find an invitation to a handball tournament in bavaria .
35 year old bachelor jehan and his partner in crime priyantha try to exploit the loopholes in the law in order to make a living .
a great sinhala movie
drama
, of a father (mr. joe abewickrama), who refuses to believe in his son' s death at war .
a story about a sri lankan matchmaker trying to find a partner for his own daughter .
three friends embark on a journey to a land that was once forbidden but a sudden encounter forces them to return to yet another land of turmoil and terror .
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cast joe abeywickrama, kumara balasuriya, karunaratne ranasinghe, dharmadasa kuruppu, shanthileka, denawaka hamine, d a balasuriya, swarna mallawarachchi, gemunu wijesuriya, somasiri denipitiya, sriayani wickramasinghe, a. p. goonaratne
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a nation' s fate, a king' s destiny, and a superhero' s rise. now those are' movieful' gifts worth giving .
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joe abeywickrama was the culmination of everything eddie jayamanne stood for in the theatre (which he never moved out of, as the minerva player movies showed). the men and women who made us laugh before him – pearl vasudevi, d. r. nanayakkara, and of course eddie – out of necessity resorted to exaggeration, the sort that evoked not just laughter but also, to a certain extent, tedium. the result of this was that none of those actors actually broke through their limited canvas, which proved to be their greatest strength and biggest weakness. as the father in rekava, as the lascivious vidane in sikuru tharuwa, as the servant in ran salu, to give just three examples, d. r. nanayakkara could never resist being the funny simpleton .
so the timing, as i mentioned before, couldn’t have been more propitious. nanayakkara and jayamanne had taken the theatre with them to the movies. joe, on the other hand, took what he could from the theatre while shaping himself for the cinema. that’s why there’s no blatant attempt at exaggeration (with none of those discernible marks that recall the comedians of the silent era: bulging eyes, dishevelled hair) in his earliest performances, when his roles consisted of keeping his co - star from unhappiness: gamini fonseka in getawarayo, henry jayasena in dahasak sithuvili .
because he had no background, and we didn’t know where he came from, we were content in seeing his antics and laughing at them. towards the end of the sixties we could feel that his stints in comedy had become a prelude to other roles, more varied and diverse. the difference between saravita and punchi baba is subtle, but discernible and rather reflective of this: in the former everyone is trying to get something from him, a bulath vita seller, while in the latter he is not just the centre of drama (as before), but the centre of ‘our’ attention, and hence the whole plot .
because he had no background, and we didn’t know where he came from, we were content in seeing his antics and laughing at them. towards the end of the sixties we could feel that his stints in comedy had become a prelude to other roles, more varied and diverse
and partly because of this, he never let go of that sense of mystery which had lingered with him before. in desa nisa, lester james peries’ attempt at moving joe into a more serious role, he salvages an otherwise jerkily - edited final sequence with his enigmatic intentions: does he want his wife cured of her blindness, or does he want her to remain as she is since she’s the only woman who will never be repelled by his deformities? we aren’t really sure, particularly when he plays along to the shrewd hermit (ravindra randeniya) and gets him what he needs to make her see again .
he got us to betray our laughter, our facile view of life, without betraying himself. that and that alone explains his range, his wider canvas, his great ability
if gamini were our first onscreen hero, then joe became our first onscreen humorist, with a caveat: he never confused the ability to make us laugh and move us to empathy with the ability to keep us aware that we were seeing him and not his performance. he got us to betray our laughter, our facile view of life, without betraying himself. that and that alone explains his range, his wider canvas, his great ability .
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he tops the list of great actors sri lanka has ever produced. his performances on silver screen have kept the audiences spellbound. then after briefly disappearing from the reel, he is back, adding depth to modern day productions like tikiri suwanda and selvam .
joe abeywickrama needs no introduction as an actor, as his name is assimilated in the minds of all the local movie buffs. proving his mettle in the international arena joe had been honoured with the best asian actor title for his performance in prasanna vithanage’s pura handa kaluwara at the 1999 singapore international film festival. here are excerpts of an interview with daily news ‘projector’ in which the versatile thespain shares his personal experiences in the sets and behind the screen over many decades .
joe mahaththaya, as he is commonly addressed by the people in the celluloid world, quietly walked to the gate to greet and receive us. the trademark smile and the unique voice which had added credibility to this great actor’s performances do not seem to let go of its grip. yet, a hint of weariness seems to reflect on his face .
after all, it is years since he dished an exceptional performance as the cunning gorin mudalali, his breakthrough role, in d b nihalsinghe’s welikathara (desert) .
at the age 12 joe got the opportunity to watch the latest english films released at the colombo regal. they were released simultaneously at imperial theatre in ratnapura, for the benefit of white men who worked in the estates as planters. thus hollywood giants like john wayn, david niven, lee marvin and marlon brando who starred in these films, became joe’s heroes .
“we used to crawl to the gallery of the cinema to watch their films”, joe recalled with an impish smile .
there was a twinkle of the old mischief in the comic actor still running in his blood .
these characters influenced the young lad to brush up his innate acting skills and adapt a natural rhythm. this he portrayed to the hilt in productions like welikathara, bambaru awith, baduth ekka horu and ran muthu doowa .
“it was hard to convince the indian directors. a few actors like me and gamini tried our best to bring a natural acting style to sinhala cinema .
at the time, an actor was required to possess girlish looks to be chosen for a main role. my profile pushed me to portray the next best role, which was comedy .
i was determined to be an actor at any cost. therefore i tried to adapt to whatever role that came my way. it was a blessing in disguise which helped me to gain versatility”, he says .
“if one can bring credibility to a comic role, he can perform any character with ease”, he stressed, talking through experience .
“there should be a perfect blend of brains, skill, flexibility and rhythm to bring a comic character to the fore. ” he believes that acting has to evolve with time .
“an actor has to be mindful of transformations in society and the world as a whole and adjust to situations or he will perish like the dinosaurs, ” he said .
i was in the danger of being confined to the comic actor category. when tissa abeysekara showed me the scrip, i knew, portraying gorin mudalali’s character in the film would bring me to the next level as a versatile actor. the undying cowboy within me provided much inspiration to take up the role. ”
director nihalsinghe had been taken by surprise when tissa suggested joe for the role. he had sought joe out and said, “i was under the impression that you are grooming yourself to follow eddie jayamanna. you have taken a bold decision. the role is yours. ”
wickrama randeniya, the police officer’s role, was originally suppose to be played by ananda jayarathne. joe had suggested gamini fonseka’s name .
“i told them that if gamini performed as my counterpart, my projection of gorin mudalali will be strengthened. they accepted my words without any hesitation. ”
work progressed smoothly. gamini and joe enjoyed the plot. tissa’s script itself provided room for them to add immense value to their characters. “at one point it seemed like we two did turn into inspector wickrama randeniya and gorin mudalali. when it came to shooting the final scenes which were the climax of storyline, the unexpected happened”. joe’s facial expressions highlighted the grim reality he was going to unveil .
i was informed that gorin mudalali should run in the final gun battle with the police inspector merely to keep the police department and the public sensor board officials at bay. i knew it was a dubious act and resisted at first before compromising” .
in the original script, gorin mudalali dies in a face - to - face gun battle with the police battalion. it was supposed to be an ‘eye for an eye’ or a ‘no retreat - no surrender’ situation, which would have led to a very emotional ending .
“i have never taken a rigid stance in a crisis situation in my acting career. flexibility brought me this far”, the exceptional artiste concluded with a note of content .
produced by lake house copyright © 2006 - 2013 the associated newspapers of ceylon ltd .
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cheriyo darling, the movie extraordinaire! i watched cheriyo darling for the 1st time in october 1996, just after its release & up - to - date i have watched it more than 200 times! i' ve watched it through vhs, then vcd, then dvd & now blu - ray! i showed it to my children, they showed it to my grandchildren & they will show it to my great - grandchildren as well. cheriyo darling will never die! cheriyo darling lives forever !
the world has never seen such a good movie! a huge huge cheriyo darling fan here from kahatagasdigiliya .
if cheriyo darling was never made, this is undoubtedly the best film in sri lankan history. sumana gomas plays an epic lesbian role in this film! i have never seen such talent in sri lanka before. she surely contributed to some of the best films ever shot. raagaye unusuma surely is among them along with age vairaya series, akkai nangi & kamasutra .
mille soya should be the best. but still i would rate cheriyo darling as the greatest, but still mille soya is good. definitely better than raigam soya, lanka soya & kimba soya .
vishvanath buddhika keerthisena or known lovingly as boodee keerthisena among us, made a 110 minute film in 2004 which is simply incredible, depicting a dangerous and hazardous journey by a young sri lankan group to rich europe where they are subject to deceptions by the intermediaries, betrayals by friends, arrests while crossing the borders and even death. i guess this film should be at the number 2 spot behind cheriyo darling .
it s a good movie. like to watch & good comedies in have. like kamal addarachchi in this film
it' s sannasgala sir' s co - favourite film! the other one is aksharaya. he showed us both films in class! we love it !
no doubt on this one! nothing, i mean nothing can match cheriyo darling, but the question to debate would be what is the second best movie in sinhala cinema. when we try to analyze this question, the most probable competitors which comes to our minds are thani thatuwen piyabanna, mata thama mathakai & raagaye unusuma. out of those 3, for me ttp stands out by some margin. this movie shows jangi janadari at her very best (in my opinion, the best actress) while gayani gisanthika, w jayasiri, nirdha uyanheywa, nilupili jayawardena, mahendra pereira, priyantha prabash, jagath chamila, sanjeevani vithanage, willson gunaratne & amarapala karasinghearachchi gives out unmatched performance for this great movie. anoma the jangi janadari all the way! ttp rocks !
it is indeed very rare to find all these best actresses to star in the same film. you will not get tired of all the boobies you see in film. it is well acted and my favorite roles are played here by sapna roshini and thanuja weerasuriya. mohan is also doing a great job so does rex codippili and sandow harris. mata thama mathakai surely gets my vote in this list of the greatest films in sri lanka - dorrick somasiri, kiribathgoda .
sapna roshini, thanuja weerasooriya & vinu wettamuni all in one film! you can' t get better than this! the best film after cheriyo darling .
horrible horrible movie! a 12 year old boy is caught watching porn with a friend at school. then comes a prostitute to the scene. the boy meets the national museum' s security guard' s daughter. security guard raping the boy' s mother who is a magistrate! the boy & the magistrate both get into a bathtub naked! the boy stabs his mother and she dies... i don' t know what' s the mentality of asoka handagama? movies like this is not suitable for our buddhist country. i' m so ashamed to born in such a perverted country full of psycho' s & lunatics !
it' s sannasgala sir' s co - favourite film! the other one is thani thatuwen piyabanna. he showed us both films in class! we love it !
saroja, written and directed by somaratne dissanayake and now screening in cinemas across sri lanka, has been widely applauded by critics and the local mass media .
it is a good movie. crowd comes to film halls again due to this film .
the most horrible movie i have ever seen! what a joke! sajitha anthoney (son of jackson anthoney) is not suitable for the role of king pandukabhaya at all! he looks like an ethopian who hasn' t had food for a week! he should have played the role of pandukabhaya servent or pandukabhaya servent' s servent maybe! it' s ashamed that sl' n cinema has fallen into such tragedy... a sad sinhala cinema admirer for 67 years here... : (
i haven' t watched the film but i have heard about the story from my mother. it sounds like a wonderful film. i really love the song. it' s my favorite sinhala song! - toukakirishima
the 1st time i saw this on t. v. i was so thrilled and desperate to watch it again that i went to pettah traveling 45 km in bus and purchased a bahuboothayo cd for 50 rupees !
doti and titi are owners of a boarding house. they have three daughters. namely �
rupika, yasodhra, pavodhara. one room of the boarding is occupied by bandu and costa. and the other by kimbulapitiya and pussalla. doti’s dream is to wed his first daughter rupika to kimbulapitiya. but rupika is in love with bandu. dottie’s mother is an old woman of 79 years named babi aachchi. she is still fit enough to ride her bicycle. babi aachchi supports her grand daughter rupika’s affair with bandu. to break this relationship kimbulapitiya brings in a rowdy called belek - kade saima to the boarding house. to counter this babi aachchi brings another rowdy named malukade jora as a boarder. after a lot of hilarious incidents and situations. tit for tat affairs bandu weds rupika and lives happily ever after !
the 1980 film directed by lester james peries that follows the lives of village people in british colonial sri lanka. the film is based on the 1913 book the village in the jungle by leonard woolf. starring vijaya kumaratunga, joe abeywickrama, malini fonseka, tony ranasinghe, nadeeka gunasekara, d. r. nanayakkara & henry jayasena. sir arthur c. clarke also has a minor role as an english judge .
it' a made in 1976 and it' s one of the best. upali & jinna are memorable characters created by martin wickramasinghe .
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in this little corner of the world, this side of paradise, there are ups and downs, amalgamations and splits. there are corners unexplored and stones unturned. spotlights invariably focus on the usual suspects. but then there are things ignored. sacred cows kept in corners. privileges hidden under covers. this paradise is full of them. i choose to reveal them. to transcribe them. in fragments .
he made you think that he wasn’t essential to a story when in fact he was. as a result of this perhaps, he remained a supporting player, who at most added to a point - of - view which was of another character but never really made up his own. he was there in the films of almost every director who had an impact on the cinema of this country – most noticeably perhaps, dharmasena pathiraja and vasantha obeyesekere. in the latter’s films he was likeable, in the former’s films he was not, and in both he showed us that one could be a side - player and at the same time create a mark for oneself .
. the entire film is really made up of a series of coincidences, plot - twists, and dénouements, which is why it remains obeyesekere’s most conventional story. three misfits – an unemployed graduate, a pickpocket, and a criminal who’s just been released from prison – meet and for some reason decide to live their lives adventuring together. vijaya kumaratunga played the graduate, wimal kumar da costa played the pickpocket, and dehipitiya played the criminal. all aptly cast, but seeing dehiptiya one can sense how he could understate his own strength and hardiness onscreen, which makes him stand apart from the other two .
he used his looks – wizened and quite brusque – to his advantage, and they pay well in sequences where he’s expected to let out his anger but never quite does so. so in dharmasena pathiraja’s
he’s one of anton aiya’s henchmen, and in the first half of the story we immediately understand his ferocity and penchant for anger. “i never knew how dirty you’d become, woman, ” he point - blank tells malini fonseka’s character helen, who like her mythical namesake forms the centre of the tragedy on account of her seductiveness. when dehipitiya’s character warns her, we cringe in fear, as if he’s hinted only part of his anger. we expect more as the scenes progress .
but no: in the second half, when cyril (played by cyril wickramage), who’s engaged to marry helen, is killed or commits suicide (we never really are sure what happens to him), he seems to back down. “what to do, aiye? that was god’s will, ” he remarks to anton (played by joe abeywickrama), only to get the enraged reply: “god’s will my foot, yako! ” by this time dehipitiya displays his true potential: as someone who played characters who flaunted their strength but always retreated when time was ripe for those to whom they played second fiddle to assert themselves. in
he does the opposite to let room for the main player (only momentarily though: when dehipitiya backs down and eventually leaves him, anton is on his own, and a few sequences later, he is killed by the servant of his rival in just about the easiest way possible) .
, where his role as an impoverished villager to whom abilin, the protagonist (abeywickrama), lends all his money is pivotal (in a simplistic way) in showing us the latter’s generosity, when in later sequences we see the same villager (now richer and less in need) demanding money lent to him over a trivial matter from his own previous benefactor. and when he could and did express his outrage or anger of his own will, like in sumitra peries’
, it was almost invariably followed by tragedy (he gets shot not long after he succumbs to anger against the village headman, played by tony ranasinghe) .
spelt out the dehipitiya who could have been much more, had he lived. on april 27, 1982 he succumbed to alcoholism, leaving us with a veritable bunch of characters who spoke and did much more than what the script allowed. he was scripted in well in almost every film he was in – a feat which not many actors from here can claim – and that came out best in the latter part of his career .
this is me. who i am. what i write. and what i stand for. i welcome constructive debate. but abhor the sneer and gibe .
not too many years ago, before i found a job, i was involved with tracking down, calling, and interviewing veterans from various cultural ...
“with apologies for generalising, i would say that despite decades of free education sri lankans are still lazy thinkers; a most gullible ...
garasarapa, jayantha chandrasiri' s latest, was given a special screening at the tharangani hall at the national film corporation on f ...
in his memoirs pin athi sarasavi waramak denna, ediriweera sarachchandra dwells on the intricate link between a cultural resurgence and t ...
jayantha chandrasiri likes to talk, i have always noticed. and how. he can explain and rationalise something that appears to be so porten ...
anagarika dharmapala is the worst thing that happened to sri lankan history. he was a racist, a political pamphleteer, a propagandist who ...
my friend hiruna, who is studying for his a levels, yet somehow finds the time to write the most beautiful sinhala poetry i have ever rea ...
the history of the buddhist clergy, in this country, has largely been a history of schisms, splits, and amalgamations. over the decades ...
i wrote crap as a child. i didn’t learn to write at school, i learnt to read. with the sole exception of my grade eight english teacher m ...
one never really gets to a sensibility, particularly when it comes to a person who makes a profession out of his or her voice. vocalists ...
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1956 - dina dina award for the painting mahabinishkramana at the annual art exhibition organized by the jathika kala peramuna .
1965 - merit award for the best lyricist at the film festival of lanka industrial exhibition for the song “atha gavu ganan durin” in sinhala film gatavarayo .
1968 - award for the best lyric writer for the song “sinidu sudu mudu thalave” composed for the film sath samudura (directed by dr siri gunasinghe) at the sarasaviya film festival .
1970 - receives the award for the best lyricist for his song “ratakin ratakata” in the sinhala film binaramalie at the sarasaviya film festival .
1972 - receives the hela vidu saviya kumaratunga memorial award for his patriotic songs .
41st academy awards - winners - presenters... cinematography) diahann carroll (presenter best visual effects, documentary awards honorary award to onna white) tony curtis (presenter best supporting actress, short subjects ...
the a - team - production notes - awards... during its time, the a - team was nominated for 3 emmy awards in 1983 (outstanding film sound mixing for a series) for the pilot episode, in 1984 (outstanding film sound mixing ...
3d systems - community involvement & partnerships... partnering with the 90 - year - old scholastic art writing awards in the future new category... for this branch of the scholastic awards, students will be challenged to express bold and innovative ideas using new technologies... free 3d design software to facilitate their creations and will award three winners with a $ 1000 scholarship ...
59th world science fiction convention - awards - other awards... john w... campbell award for best new writer of 2000 or 2001 kristine smith ...
kelly osbourne - awards and nominations 2002 – teen choice awards – tv – choice breakout star, female (the osbournes) – won 2003 – teen choice awards – favorite tv personality – nominated 2003 – teen ...
intel’s new ‘pinetrail’ atom processors roll graphics and memory controllers right into the cpu – plus they are smaller and use less power .
chip - making giant intel has taken the wraps off three new atom processors, aiming to push so - called netbook and net - top computing to new heights – using even less power. the new cpus, codenamed pinetrail by intel, integrate memory controllers and graphics processors right into the cpu for improved performance, plus the chips are some 60 percent smaller than their predecessors. the chips intended for netbooks use 20 percent less power than intel’s earlier atom chips, and the versions aimed at net - tops use 50 percent less power .
intel atom is the brand name for a line of ultra - low - voltage x86 and x86 - 64 cpus (or microprocessors) from intel, designed in 45 nm cmos and used mainly in netbooks, nettops, and mobile internet devices (mids). on december 2009, intel announced the next generation of atom processors, including the n450, with total kit power consumption down 20 %
the new chips include the atom n450, which rolls in 512k of l2 cache and has a total power consumption of 7 watts. the atom d410 is aimed at desktop systems with 512k of l2 cache and 12 watts of power consumption .
the d510 is also aimed at desktops and ramps up to 1 mb of l2 cache and 15 watts of power consumption .
all three of the new chips run at 1. 66 ghz, like previous atom offerings. all the new atom cpus are built on intel’s 45nm manufacturing process; the power consumption figures for the chips seem higher than previous atom cpus, but bear in mind they also include graphics and memory controllers, so the total power consumption foot print (and heat output) is considerably lower. although the new cpus probably won’t show dramatic performance improvements over previous generations, they will be a boon to netbook fans in terms of battery life .
the pinetrail atom cpu’s integration of graphics and memory controllers is another round of bad news for graphics developer nvidia, which had been building its ion platform as a high - performance drop - in replacement for graphics controllers on intel’s earlier atom processors .
since the new atom cpus have graphics controllers baked into the chip itself, there’s no way for system manufacturers to buy graphics - free versions of the new atom chips if they wanted to go with another graphics solution .
intel says the new atom processors will be available to original equipment manufacturers (oems) in january. more than 80 netbooks and other products based on the new atom processors are already on the way from manufacturers like dell, asus, lenovo, acer and toshiba .
expect to see tons of products with the new generation of atom processors on parade at consumer electronics show (ces) in january .
this is not a book to teach you how to get into iit or even survive .
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intensely sympathetic to the choice of its characters dilip simeonn’s first novel is a passionate and intelligent account of a time so turbulent that its echoes and still haunt us. no longer sure of their mission the characters are forced to confront the question can a just society emerge from violence ?
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enrich your speech and writing with appropriate idioms and phrases that you find in this book .
india’s most widely read author, has produced an uninhibited erotic and endlessly entertaining celebration of love sex and passion. he was a member of parliament from 1986 to 1986 .
the life and times of shah rukh khan. kushwant singh being a friend of the family is the best writer for this family portrayal. he has produced an endlessly entertaining book .
travelling through time, space and history, the narrator meets a myriad of people who have participated in the major historical forces that have shaped and endowed delhi .
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it’s the film award season once again! awards for the best performances and technical accomplishments in feature films released during 2010 will be announced during the first quarter of 2011. the best known – and most sought after – film awards are presented by the academy of motion picture arts and sciences (ampas). official called the academy awards, they are better known by their informal name, the ‘oscars’ .
the first academy / oscar awards ceremony was held on 16 may 1929, at the hotel roosevelt in hollywood to honour outstanding film achievements of the 1927 / 1928 film season. the 83rd oscar awards ceremony is scheduled for february 27, 2011, and will honour the best of films released during 2010. nominations for the 2010 awards will be announced today .
this is the first of two quizzes looking at the colourful and glamorous oscar awards. first, a peep at the history of oscars
1. who was the first asian director to win the oscar award for best director? this taiwanese - born director won the oscar for brokeback mountain in 2006. he first became famous for directing the wuxia martial arts epic crouching tiger hidden dragon in 2000 .
2. only three indian made movies have been nominated for the best foreign language film in the entire oscar history. two of them are mother india (directed by mehboob khan, 1957) and salaam bombay (directed by mira nair, 1988). what is the third and most recent one, which was directed by ashutosh gowariker in 2001 ?
3. the japanese director akira kurosawa (1910 - 1998), regarded as one of the most important and influential filmmakers in the history of cinema won two oscar awards for best foreign language film during his career spanning 57 years. one was for rashomon in 1951. the other was for a russian language movie he directed in 1975. what is the name of this second movie, a soviet - japanese joint production ?
4. the highest number of oscars won by any single film is 11. three films have achieved this feat. the first was ben hur in 1959, and the second was titanic in 1997. do you know the third movie that also won a total of 11 oscars, in 2003 ?
5. this composer has won 8 oscar awards, giving him more oscars than any other living person. he has won oscars for the best original score and best original song for movies the little mermaid (1989), beauty and the beast (1991), aladdin (1992) and pocahontas (1995). who is he ?
6. a versatile actress, still very much active in hollywood, holds the record for the most number of oscar nominations in acting received by any actor (male or female). from these 16 nominations (13 for best actress, and 3 for best supporting actress), she actually won two oscar awards: best supporting actress for kramer vs. kramer in 1979, and best actress for sophie’s choice in 1982. who is she ?
7. only two movies in the history of cinema have won both the best picture oscar and the palme d’or (‘golden palm’), the highest award to competing films at the cannes film festival in france. the lost weekend won both these in 1945. what is the other movie that won both grand prizes in 1955?
thun man handiya ( sinhala , three way junction ) is a 1970 dramatic film made by sri lankan artist mahagama sekera . it is autobiographical and recounts sekera 's childhood though the character of sirisena . 
thun man handiya (sinhala, three way junction) is a 1970 dramatic film made by sri lankan artist mahagama sekera. it is autobiographical and recounts sekera's childhood though the character of sirisena.
thun man handiya (sinhala, three way junction) is a 1970 dramatic film made by sri lankan artist mahagama sekera. it is autobiographical and recounts sekera's childhood though the character of sirisena.