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Cinema Retrospective

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, the language of the majority Sinhala people.

View all the old sinhala films which atarted from Kadauna Poranduwa.

• Old Sinhala Film Deyyanne Rate – දෙයියන්නේ රටේ
• Old Sinhala Film Divya Premaya – දිව්‍යමය ප්‍රේමය
• Old Sinhala Film Ekamath Eka Rataka – එකමත් එක රටක
• Old sinhala Film Saradam – සරදම්
• Old Sinhala Film Sihinaya – සිහිනය
• Old Sinhala Film Siriyalatha – සිරියලතා
• Old Sinhala Film Sohouro – සොහොයුරෝ
• Old Sinhala Film Sukumali – සුකුමලී
• Old Sinhala Film Surasena – සූරසේන
• Old Sinhala Film Suraya – සූරයා
• Old Sinhala Film Wanaliya – වනලිය
• Old Sinhala Fim Wana Mohini – වන මෝහිනී
• Radala Piliruwa Sinhala Film – රදළ පිළිරුව
• Sinhal Old Film Hadisi Vivahaya- හදිසි විවාහය
• Sinhala Old Film Ma Alaya Kala Tharuniya – මා ආලය කළ තරුණිය
• Sinhala Cinamatic Heritage – Old Film Ashokamala – අශෝකමාලා
• Sinhala Film Asoka – අසෝකා
• Sinhala Film Kadawunu Poronduwa – කඩවුණු පොරොන්දුව
• Sinhala Film Kapati Arakshakaya කපටි ආරක්ෂකයා
• Sinhala Film Mathabhedaya – මතභේදය
• Sinhala Film Sandeshaya – සංදේශය
• Sinhala Film Suragani – සුරඟණී
• Sinhala Film Veradunu Kurumanama – වැරදුණු කුරුමානම
• Sinhala Old Film Ahankara Sthree – අහංකාර ස්ත්‍රී
• Sinhala Old Film Amma – අම්මා
• Sinhala Old Film Avishwasaya – අවිශ්වාසය
• Sinhala Old Film Banda Nagarayata Pemineema – බණ්ඩා නගරයට පැමිණීම
• Sinhala Old Film Daiva Vipakaya – දෛව විපාකය
• Sinhala Old Film Daiwa Yogaya – දෛවයෝගය
• Sinhala Old Film Daskama – දස්කම
• Sinhala Old Film Dingiri Manika – ඩිංගිරි මැණිකා
• Sinhala Old Film Dosthara – දොස්තර
• Sinhala Old Film Duppatage Duka – දුප්පතාගේ දුක
• Sinhala Old Film Eda Re – එදා රෑ
• Sinhala Old Film Gambada Sunderi – ගම්බද සුන්දරී
• Sinhala Old Film Gehenu Geta – ගැහැනු ගැට
• Sinhala Old Film Hadisi Vinishchaya – හදිසි විනිශ්චය
• Sinhala Old Film Irangani – අයිරාංගනී
• Sinhala old film Jeewitha Poojawa
• Sinhala Old Film Jeewitha Satana – ජීවිත සටන
• Sinhala Old Film Kele Handa – කැලෑහඳ
• Sinhala Old Film Matalan – මාතලන්
• Sinhala Old Film Perakadoru Bena – පෙරකදෝරු බෑණා
• Sinhala Old Film Peralena Iranama – පෙරලෙන ඉරණම
• Sinhala Old Film Pirimiyek Nisa – පිරිමියෙක් නිසා
• Sinhala Old Film Pitisara Kella – පිටිසර කෙල්ල
• Sinhala Old Film Podi Putha – පොඩි පුතා
• Sinhala Old Film Prema Tharagaya – ප්‍රේම තරගය
• Sinhala Old Film Puduma Leli – පුදුම ලේලි
• Sinhala Old Film Purusha Rathnaya – පුරුෂ රත්නය
• Sinhala Old Film Ramyalatha – රම්‍යලතා
• Sinhala Old Film Rekawa – රේඛාව
• Sinhala Old Film Salli Malli Salli – සල්ලි මල්ලි සල්ලි
• Sinhala Old Film Saradiel – සරදියෙල්
• Sinhala Old Film Seda Sulan – සැඩ සුළං
• Sinhala Old Film Seedevi – සීදේවී
• Sinhala Old Film Sengewunu Pilithura – සැඟවුණු පිළිතුර
• Sinhala Old Film Sepali – සේපාලි
• Sinhala Old Film Sirakaruwa – සිරකරුවා
• Sinhala Old Film Sirimali – සිරිමලී
• Sinhala Old Film Sirisangabo – සිරිසඟබෝ
• Sinhala Old Film Subadra – සුභද්‍රා
• Sinhala Old Film Sujatha – සුජාතා
• Sinhala Old Film Sundara Birinda – සුන්දර බිරිඳ
• Sinhala Old Film Suneetha – සුනීතා
• Sinhala Old Film Surathali – සුරතලී
• Sinhala Old Film Umathu Vishvasaya – උමතු විශ්වාසය
• Sinhala Old Film Vana Mala – වනමල
• Sinhala Old Film Warada Kageda – වරද කාගෙද
• Sinhala old film Weera Vijaya – වීර විජය
• Sri 296 Sinhala Old Film – ශ්‍රී 296

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”, made 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 60s 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-60s including Sath Samudura by professor Siri Gunasinghe, ably supported by exquisite cinematography by Dr.D.B. Nihalsingha.
During the 1970s several talents came to the forefront while commercial cinema continued to steal 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 ’70s 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, Dr. D.B.Nihalsingha, 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 coverted Camera d’Or for best first film at the 2005 Cannes Film Festival.

In recent years, films have begun to tackle gritty subjects such as family relationships, abortion and results of the conflict between the military and Tamil Tiger rebels in the north. Director Asoka Handagamma especially has drawn criticism for pursuing such material in his work.

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