{"id":93827,"date":"2022-06-17T14:18:15","date_gmt":"2022-06-17T14:18:15","guid":{"rendered":"https:\/\/websitedesigns.com.au\/elankanew\/?p=93827"},"modified":"2022-06-17T14:18:15","modified_gmt":"2022-06-17T14:18:15","slug":"kala-keerthi-dharmasiri-bandaranayake-renowned-film-actor-playwriter-director-dramatist-director-and-producer-of-films-at-pinnacle-of-fame-by-sunil-thenabadu","status":"publish","type":"post","link":"https:\/\/websitedesigns.com.au\/elankanew\/kala-keerthi-dharmasiri-bandaranayake-renowned-film-actor-playwriter-director-dramatist-director-and-producer-of-films-at-pinnacle-of-fame-by-sunil-thenabadu\/","title":{"rendered":"KALA KEERTHI DHARMASIRI BANDARANAYAKE : RENOWNED FILM  ACTOR, PLAYWRITER, DIRECTOR, DRAMATIST, DIRECTOR AND PRODUCER OF FILMS AT PINNACLE OF FAME \u2013 by Sunil Thenabadu"},"content":{"rendered":"<div>\n<h1 class=\"m_8886294923903831496paragraph\" style=\"text-align: center;\"><span style=\"color: #0000ff; font-size: 24px;\"><span class=\"m_8886294923903831496normaltextrun\"><b><span lang=\"EN-US\">KALA KEERTHI DHARMASIRI BANDARANAYAKE :\u00a0RENOWNED FILM \u00a0ACTOR, PLAYWRITER, DIRECTOR, DRAMATIST, DIRECTOR\u00a0AND PRODUCER OF FILMS AT PINNACLE OF FAME<\/span><\/b><\/span><span class=\"m_8886294923903831496eop\"><b>\u00a0\u2013 by Sunil Thenabadu <\/b><\/span><\/span><\/h1>\n<h1 class=\"m_8886294923903831496paragraph\" style=\"text-align: center;\"><span style=\"color: #0000ff; font-size: 24px;\"><span class=\"m_8886294923903831496eop\"><b> <img loading=\"lazy\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-93830 size-full\" src=\"https:\/\/websitedesigns.com.au\/elankanew\/wp-content\/uploads\/2022\/06\/KALA-KEERTHI-DHARMASIRI-BANDARANAYAKE-RENOWNED-FILM-ACTOR-PLAYWRITER-DIRECTOR-DRAMATIST-DIRECTOR-AND-PRODUCER-OF-FILMS-AT-PINNACLE-OF-FAME-\u2013-by-Sunil-Thenabadu-1-1-e1655474494864.jpg\" alt=\"KALA KEERTHI DHARMASIRI BANDARANAYAKE :\u00a0RENOWNED FILM \u00a0ACTOR, PLAYWRITER, DIRECTOR, DRAMATIST, DIRECTOR\u00a0AND PRODUCER OF FILMS AT PINNACLE OF FAME\u00a0\u2013 by Sunil Thenabadu\" width=\"600\" height=\"365\" \/><\/b><\/span><\/span><b><u><\/u><u><\/u><\/b><\/h1>\n<div>\n<p>&nbsp;<\/p>\n<p class=\"m_8886294923903831496paragraph\" style=\"text-align: justify;\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\"><img loading=\"lazy\" loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-75799 alignleft\" src=\"https:\/\/websitedesigns.com.au\/elankanew\/wp-content\/uploads\/2021\/10\/Sunil-Thenabadu02.jpg\" alt=\"Sunil-Thenabadu\" width=\"160\" height=\"156\" \/>Kala Keerthi Dharmasiri Bandaranayake the recipient of the \u2018Ran Thisara award in year 2018 is a film actor, playwriter, director ,dramatist\u00a0and producer of films and stage plays is a predominantly the renowned\u00a0\u2018civil and political activist\u2019 who loved to work to bring about political or social changes by campaigning in public. The beginning of the film career of Bandaranayake was not all that rosy.At\u00a0that time in the decade of eighties the script had to be passed by the General Manager of National film Corporation \u00a0Dr\u00a0DB Nihalsinghe\u00a0who had given the film a c grade rating which had prevented \u00a0Bandaranayake\u00a0in qualifying for a loan to proceed.Then\u00a0by sheer quirk he had met Chairman of Bake House group \u00a0Albert\u00a0Jayasinghe who had wanted Bandaranayake to submit the budget to which he had agreed (Rupees 244,500\/)\u00a0 Hence\u00a0it was not a rosy beginning for Bandaranayake .He\u00a0had followed the path of earlier film producers like Lester James Peiris, Wasantha\u00a0Obeysekera, Dharmasena Pathiraja, and Tissa Abeysekera to whom Bandaranayke is very grateful teaching the path for producing \u00a0vast\u00a0highbrow films.Bandaranayake\u2019s\u00a0film Bawa Duka was based on a novel written by his Uncle. Father&#8217;s younger brother \u00a0KS\u00a0Perera a scholar<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">\u00a0for which his grandparents, uncle\u00a0and father had portrayed roles,\u00a0But the audiences are wondering why Bandaranayake had not made new films for over two decades.<\/span><\/span><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">\u00a0Bandaranayake has added he\u00a0cannot sit for a long time at a table, so there is only a rare chance that he\u00a0writes a new play or film script.But\u00a0 is\u00a0engaged in a new film now, the script of it was written by his\u00a0daughter in London, is very hopeful about it.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">\u00a0The five films of Dharmasiri Bandaranayake,Thunveni\u00a0Yamaya, Hansa Vilak. Suddilage\u00a0Kathawa, Bawa Karma.Bawa\u00a0Duka ( sorrow\u00a0of existence) stand out like spirits\u00a0of the history of the decades of the eighties and the nineties. In Hansa Vilak\u00a0Bandaranayake had adopted unusual camera angles, a new order of audio and visual techniques with modern musical experiments which were all appreciated had helped to draw fans to film halls. \u00a0They reflect what could have been, but was not, in a more illustrious, colorful career. The uprooting\u00a0of the individual from his surroundings, the unreliability of an objective voice, the solace of psychological confinement, are all themes that brings these four films together; they differentiate them from his political plays. Bandaranayake\u2019s cinema was never totally political in that sense.It\u00a0is prudent to study Dharmasiri\u2019s childhood prior to tracing his film exploits. He was born in early October 1949 in Kalutara as the second son among three male siblings. His father a small business entrepreneur who owned his own watch repairing shop in Panadura town. Young Bandaranayake was educated at Vidyarathne\u00a0College in Horana. During his tenure in school there had been a rather politically active theatre culture outside the capital Colombo.Young\u00a0Bandaranayake had been instigated by the teachings of the drama teacher well known even to date Hemasiri\u00a0Liyanage hailing from Horana.It\u00a0was \u00a0obviously\u00a0his school plays had run riot in Bandaranayake\u2019s student imagination via many plays staged in school in the decade of the sixties. Young Bandaranayake while in his teens had joined in a workshop of legendary Dayananda Gunawardena at the \u2018Sudarshi\u201din\u00a0year 1966 where young Bandaranayake also developed a passion for music making experimentations following Maestro musician Premasiri\u00a0Khemadasa.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Uw5xpAbBIWo\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">For young Bandaranayake it was by sheer quirk when Dayananda Gunawardena selected him to portray the role of young sort of \u2018comedian\u2019 in his film \u201cThunweni\u00a0Yamaya\u201d.The\u00a0role was that of a domestic aid where he was forced to fall in love to a forty-year old\u00a0portrayed by Iranganie\u00a0Serasinghe.<wbr \/>According\u00a0to Bandaranayake as a novice he portrayed the role triumphantly as instructed by the Director in his debut film..At\u00a0the end when the film was released, he appeared to have excelled in his portrayal which Bandaranayake too had been overwhelmed. This to Bandaranayake was somewhat of a definite premonition about his future.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">It was before this event that he had to borrow rupees two from his father to witness Henry Jayasena\u2019s Hunuwatalye\u00a0Kathawa\u00a0staged in Panadura.After\u00a0watching this play he had been further instigated to be interested in stage plays too.He\u00a0had described this play as impeccable performed to precision made him very much interested in \u00a0stage plays.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">They never conceded to political controversies and debate. Based on the split\u00a0between power and incapability, the helplessness of the loner in the face of patriarchy, feudalism, and the many manifestations of power, they dig acutely into his\u00a0personal life.\u00a0<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><img loading=\"lazy\" loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-93829 alignleft\" src=\"https:\/\/websitedesigns.com.au\/elankanew\/wp-content\/uploads\/2022\/06\/KALA-KEERTHI-DHARMASIRI-BANDARANAYAKE-RENOWNED-FILM-ACTOR-PLAYWRITER-DIRECTOR-DRAMATIST-DIRECTOR-AND-PRODUCER-OF-FILMS-AT-PINNACLE-OF-FAME-\u2013-by-Sunil-Thenabadu-1.jpg\" alt=\"KALA KEERTHI DHARMASIRI BANDARANAYAKE :\u00a0RENOWNED FILM \u00a0ACTOR, PLAYWRITER, DIRECTOR, DRAMATIST, DIRECTOR\u00a0AND PRODUCER OF FILMS AT PINNACLE OF FAME\u00a0\u2013 by Sunil Thenabadu\" width=\"237\" height=\"405\" \/> <\/span><span class=\"m_8886294923903831496normaltextrun\" style=\"color: #000000;\"><span lang=\"EN-US\">It was that generation which in later years, particularly after the disillusionment which the 1971 insurrection compelled in young idealists, fresh from university, determined that the local theatre belonged to a left-of-Centre\u00a0political sphere.\u00a0<\/span><\/span><span class=\"m_8886294923903831496eop\" style=\"color: #000000;\">\u00a0<\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Bandaranayake took over Henry Jayasena\u2019s version of Makara and transformed it into Makarakshaya, reflecting this shift from Jayasena\u2019s aestheticism to his deeply felt, sincerely articulated political convictions. The message that the play gave out, that there are more Mayors\u00a0than there are dragons, was aptly valid for a period in our history in which those burgomasters flourished in our political culture.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">But that was the theatre, a manifestly different medium. To trace Bandaranayake\u2019s as a film director one needs to read his childhood. He was born in 1949 and was educated at Vidyarathne\u00a0College in Horana. Even then there had been a politically active theatre culture throughout Sri Lanka, particularly outside Colombo, and the man had felt this acutely through one of his drama teachers at his school, Hemasiri\u00a0Liyanage (who also hailed from Horana). Apparently Liyanage had been one of his figures of destiny, who had let his student\u2019s imagination run riot through the many plays he staged at school. This was during the sixties, a tense, uneasy period in our history.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Surprisingly, he was only a teenager when he first encountered the cinema. While he had not been a film fan as such before, his many encounters with the theatre had enabled him to meet Dayananda Gunawardena, who was directing his debut film.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Those who have seen Bakmaha\u00a0Deege\u00a0would no doubt remember Bandaranayake as the manservant, the childishly silly and innocent Premadasa. I believe he himself, speaking at that book launch ceremony alluded to before, offered the most fitting comment or riposte: \u201cWhen Avurudu\u00a0is around the corner and when TV stations telecast the movie, \u00a0laughter\u00a0is heard throughout any\u00a0neighborhood in the country whenever Premadasa comes in.\u201d He was about 17 at the time. Surprisingly, however, he never was interested in pursuing acting in the cinema thereafter: he was more interested in the camerawork and the editing, striking \u00a0up\u00a0a friendship with Willie Blake and Sumitra Peries. What had fascinated him were the complex technicalities involved in the making of a film.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><img loading=\"lazy\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-93828\" src=\"https:\/\/websitedesigns.com.au\/elankanew\/wp-content\/uploads\/2022\/06\/KALA-KEERTHI-DHARMASIRI-BANDARANAYAKE-RENOWNED-FILM-ACTOR-PLAYWRITER-DIRECTOR-DRAMATIST-DIRECTOR-AND-PRODUCER-OF-FILMS-AT-PINNACLE-OF-FAME-\u2013-by-Sunil-Thenabadu-2.jpg\" alt=\"KALA KEERTHI DHARMASIRI BANDARANAYAKE :\u00a0RENOWNED FILM \u00a0ACTOR, PLAYWRITER, DIRECTOR, DRAMATIST, DIRECTOR\u00a0AND PRODUCER OF FILMS AT PINNACLE OF FAME\u00a0\u2013 by Sunil Thenabadu\" width=\"450\" height=\"679\" \/><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Young Bandaranayake\u2019s assessment of Gunawardena was spot on and very clear: He had kept an admirable balance between the theatre and the cinema. He was, in other words, conscious of the differences which existed between the two mediums while being well aware of their parallels. The film was an adaptation of an Italian opera. Gunawardena was very careful about vetting if not filtering out the theatrical side to it when transposing it. To countess viewers, this was and is one of the two biggest strengths of Bakmaha\u00a0Deege, the other strength being the fact that it can\u2019t really be sourced, i.e.\u00a0that one can\u2019t really state that it was an adaptation at all in the first place, therefore it is put to Bandaranayake that the man indigenized the story so well that it became truly Sri Lankan, a point he agreed with at once: That\u2019s the reason why the man was unmatched in his field.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">After that first encounter with the cinema, however, the man let go of any ideas about the industry he may have entertained, and concentrated on the theatre. During the seventies, when our political theatre,\u00a0to an extent, cinema had matured, he displaying his talent, proved his mettle, and took over from the stylized and the kitchen sink plays that had been the norm in the preceding decades. The shift from Ediriweera\u00a0Sarachchandra\u00a0to the likes of Sugathapala\u00a0de Silva had been one of mood and temperament, from the former\u2019s reliance on visually descriptive to the former\u2019s reliance on speech.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">The shift from the likes of de Silva to the likes of Bandaranayake was less of mood than of conviction, although the kitchen sink play, the best example of which was Boarding Karayo, reflected the personal agonies and social anxiety that would be unleashed in gushes and torrents after 1971. Boarding Karayo, in that sense, was a precursor to Makarakshaya, if only distantly so. As with Nanda Malini in our musical sphere, hence, it is to Bandaranayake that we owe our understanding of political potential of the arts, in his case the theatre, more clearly identified.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">It was in this context that Vasantha Obeyesekere\u00a0selected him for the role of the protagonist in Palagetiyo. Between this and Bakmaha\u00a0Deege\u00a0there had been a space of 10 years, a long enough time for attitudes, idealisms, and personal convictions to change and, if provoked, sour beyond expectation. In Palagetiyo\u00a0the audiences\u00a0come across a different actor in Bandaranayake: as Sarath Gunawardena, the embittered protagonist who works as a manager for a rich mudalali\u00a0and then elopes with his daughter, he virtually distilled the alienation from personal feelings the youth of his time might have, against their will, well felt.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">In Obeyesekere\u2019s\u00a0hands there is no attempt at romanticizing the elopement (which occurs secretly, and quickly, at night) barring the first few sequences in Sarath\u2019s village. The misery and the harsh realities that the girl played by Dammi\u00a0Fonseka, slain tragically in Kahathuduwa\u00a0after the film was released forces herself to are poignantly depicted, as are her confused, repressed feelings of love towards a neighbour\u00a0\u00a0in the shanty house they are compelled to live in, given Sarath\u2019s being unemployed.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Even on a first viewing, the parallels between Palagetiyo\u00a0and Bandaranayake\u2019s debut, Hansa Vilak, are certainly hard to miss: both have Bandaranayake as the condemned protagonist, both have Henry Jayasena as a ramrod figure of the establishment that he is pitted against, and both involve the conflict between eroticism and social discrepancies. But while the latter conflict in Palagetiyo\u00a0is tempered by class rifts, the conflict in Hansa Vilak\u00a0is tempered by a forever irreconcilable rift between personal feelings and familial obligations.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Not even the acceptance of the divorce between the vague Miranda (Swarna Mallawarachchi) and Douglas (Jayasena) by the courts is enough for those obligations to be swept away in favour\u00a0of personal feelings, and the message we finally get \u2013 that the institution of marriage represses, absorbs, and does away with everything that comes in its way \u2013 is enough to tide over what I consider to be a deliberately confused ending.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\" align=\"center\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496eop\"><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/eEqTZCXvXFY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">In Thunveni\u00a0Yamaya he went beyond the psychological subjectivity in Hansa Vilak, to varying levels of success. Perhaps the relative failure he encountered with that film \u2013 the authors of Profiling Sri Lankan Cinema correctly surmise that in it there is a disjuncture between the director\u2019s \u201cbold outlook\u201d and the \u201ccomplex demands\u201d the themes he explored required \u2013 compelled him to fall back on adaptations of literary texts thereafter: Suddilage\u00a0Kathawa, Bhava Duka, Bhava Karma (the latter two of which were filmed together).<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">The complexities of mood and milieu that these films open the viewer up to can\u2019t really be ascertained or described through one review, let alone a newspaper sketch, so suffice it to say that they reveal the director\u2019s belief that the personal always has a hand in shaping the social, that relationships between individuals can congeal into power relationships between different layers of society.\u00a0In these three seminal films, those layers are determined by a feudal structure, which is where an interesting historical contradiction in Bhava Duka and Bhava Karma comes out: the fact that colonialism was so easily able to intrude on our society because the stratifications in our society, between the favored and the unfavored, allowed the conqueror to easily disrupt our lives.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Perhaps that\u2019s the most fitting tribute we can make to this all too misunderstood director. And perhaps that\u2019s why the last word should be his: Bandaranayake adds people come to him\u00a0today requesting permission to remake Suddilage\u00a0Kathawa\u00a0. Forget the costs involved in doing that. The fact is that one can\u2019t remake Suddi. The fact is that he would\u00a0simply won\u2019t.<\/span><\/span><span class=\"m_8886294923903831496eop\">\u00a0<\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">. According ,to\u00a0Bandaranayake \u201c every\u00a0living man is a political animal, an artiste should be among the people. An artiste has an internal fight within him to face the bizarre situation in society, the fate of humanity. This is why I criticize the socio-political scenario. Without commenting on that one cannot comment on art as art is based on life.\u201d Bandaranayake is a staunch Buddhist taking part in a popular television program recently had selected the song of Maestro WD Amaradewa\u00a0 \u2018s sasana\u00a0wasana\u00a0thuru\u00a0niwan\u00a0<wbr \/>dakina\u00a0thuru\u00a0..yali\u00a0upa\u00a0<wbr \/>dinnata\u00a0hethu\u00a0wasana\u00a0wewa\u201d.<wbr \/>Commenting on this he expressed that though there are so many Buddhists in this country who visit temples \u2018where the Buddhism cultivated within them. \u00a0Hence,\u00a0he preferred to be born elsewhere in the world.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Bandaranayake\u2019s higher education had been disrupted depriving him entering a university owing to the JVP insurrection in 1971 having had to leave educational institutes, the worst thing that happened was the destruction of our future goals with regard to education. When it was seen the universities were transformed into rehabilitation centres, our dreams about university education were disappeared. Then his\u00a0first priority was to find a job, had\u00a0received a clerk\u2019s post in the Department of Rubber Control in 1971.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">Parallel to the job, my dramatic career also started in 1970s with the production of Ekadhipathi. But after serving twelve long years in the Department of Rubber Control, I had to leave the job because the authorities in the Department refused to permit holiday leave to take part at the Manheim film festival in Germany at which my film Hansa Vilak\u00a0was a contender \u2013 Fr. Ernest Poruthota\u00a0was the person who entered my film to that film festival.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN-US\">\u00a0The late minister Gamini Dissanayake had given him a clerk\u2019s job in the Low Land Development Board in his Ministry. But with my next film, Thunweni\u00a0Yamaya, he had\u00a0quit that job too. He had\u00a0realized that he couldn\u2019t engage in film directing with a full-time government service job.As\u00a0Bandaranayake was very talented in script writing popular singer TM Jayaratne had insisted him to script a song for his SLBC \u2018Sarala Gee\u201d.When\u00a0Bandaranayake had not taken much interest TM had told music maestro Premasiri\u00a0Khemadasa\u00a0to request him.On\u00a0his insistence he had compiled a song ( the\u00a0only one to date) \u201c \u201cPawanata\u00a0Selena Dombamal\u00a0suwanda\u201d to which Premasiri\u00a0Khemadasa\u00a0had made the music composition.After\u00a0which several other vocalists had requested Bandaranayake to compose lyrics to which he had not responded as his line was cinema production not as a lyric writer.Bandaranayake\u00a0had confessed that he has\u00a0suffered from a skin ailment \u2018eczema\u2019 condition for which a paste from Domba\u00a0flower had been used to cure him hence was helpful in the lyrics made.There\u00a0had been one instance for a film song scripted by Lucian Bulathsinghala, Bandaranayake had edited it to sound better excluding a few words.\u00a0<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN\">Two films\u00a0of Bandaranayake\u00a0<i>Bawa Duka<\/i>\u00a0and\u00a0<i>Bawa Karma<\/i>\u00a0challenged the human judgement blocked by a wider understanding by a false assumption of Buddhism in Sri Lanka.\u00a0The common arcs in Bandaranayake&#8217;s films follow the conflicted lives of men and women, transformation of private lives into public affairs, the unpleasant reality of marriage and society and the dark side of human desire.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN\">Bandaranayake had produced many stage plays such as\u00a0<i>Eka Adhipathi<\/i>,\u00a0<i>Makarakshaya<\/i>,\u00a0<i>Dhawa<wbr \/>la\u00a0Bheeshana<\/i>,\u00a0<i>Yakshagamanaya<\/i>\u00a0<wbr \/>and\u00a0<i>Trojan Kanthavo<\/i>\u00a0have all dealt with current issues of national and political importance.\u00a0In 1999, Bandaranayke first staged the play\u00a0<i>Trojan Kanthawo<\/i>\u00a0which adapted\u00a0the Greek drama\u00a0The Trojan Women\u00a0for a Sinhala and Tamil audiences\u00a0It is meant as an anti-war statement and proved to be controversial with the Sri Lankan government despite critical acclaim.<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN\">Bandaranayake received several death threats in 2001 after he made plans to stage the play in predominantly Tamil areas. In 2021, his film\u00a0<i>Hansa Vilak<\/i>, a new copy has been reprinted with colored format and screened in cinemas ..<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN\">Bandaranayake had got married according to his own wishes at the age of only twenty one years.The\u00a0duo are blessed with two children while via a relationship with Swarna Mallawarachchi\u00a0has a daughter.Also\u00a0the duo are blessed with grand children&#8230;\u00a0<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN\">All his fans would wish him good health and longevity \u2018<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><em><strong><span class=\"m_8886294923903831496normaltextrun\" style=\"font-size: 16px; color: #000000;\"><span lang=\"EN\">SUNIL THENABADU IN BRISBANE<\/span><\/span><\/strong><\/em><\/p>\n<p class=\"m_8886294923903831496paragraph\"><span class=\"m_8886294923903831496normaltextrun\" style=\"font-size: 16px; color: #000000;\"><span lang=\"EN\"><em><strong>EMAIL<\/strong> <\/em>STHENABADU @<a style=\"color: #000000;\" href=\"http:\/\/hotmail.com\/\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/hotmail.com&amp;source=gmail&amp;ust=1655560528927000&amp;usg=AOvVaw2Jraaayf20CIybwpNMBvVz\">hotmail.com<\/a>\u00a0<\/span><\/span><\/p>\n<p class=\"m_8886294923903831496paragraph\"><span style=\"font-size: 16px; color: #000000;\"><span class=\"m_8886294923903831496normaltextrun\"><span lang=\"EN\"><em><strong>WhatsApp<\/strong><\/em>\u00a00061444533242<\/span><\/span><span class=\"m_8886294923903831496eop\"><span lang=\"EN-US\">\u00a0<\/span><\/span><u><\/u><u><\/u><\/span><\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p class=\"m_8886294923903831496paragraph\"><span class=\"m_8886294923903831496eop\" style=\"font-size: 16px; color: #000000;\"><span lang=\"EN-US\">\u00a0<\/span><\/span><\/p>\n<\/div>\n<\/div>\n<div style=\"text-align: justify;\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>KALA KEERTHI DHARMASIRI BANDARANAYAKE :\u00a0RENOWNED FILM \u00a0ACTOR, PLAYWRITER, DIRECTOR, DRAMATIST, DIRECTOR\u00a0AND PRODUCER OF FILMS AT PINNACLE OF FAME\u00a0\u2013 by Sunil Thenabadu &nbsp; Kala Keerthi Dharmasiri Bandaranayake the recipient of the \u2018Ran Thisara award in year 2018 is a film actor, playwriter, director ,dramatist\u00a0and producer of films and stage plays is a predominantly the renowned\u00a0\u2018civil and [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":93830,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[20,37869],"tags":[45132,45134,38682,38403,45136,33230,38750,38430,45137,45135,45133,45131,45130],"class_list":{"0":"post-93827","1":"post","2":"type-post","3":"status-publish","4":"format-aside","5":"has-post-thumbnail","7":"category-articles","8":"category-sunil-thenabadu","9":"tag-bawa-duka","10":"tag-bawa-karma","11":"tag-dayananda-gunawardena","12":"tag-dharmasena-pathiraja","13":"tag-film-producers","14":"tag-hansa-vilak","15":"tag-henry-jayasena","16":"tag-lester-james-peiris","17":"tag-suddilage-kathawa","18":"tag-swarna-mallawarachchi","19":"tag-thunveni-yamaya","20":"tag-tissa-abeysekera","21":"tag-wasantha-obeysekera","22":"post_format-post-format-aside"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.7.1 (Yoast SEO v25.9) - 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