However, the plots of both producers’ films were identical in their melodramatic concoctions. But on the contrary, Sirisena Wimalaweera made his own films based on his own stories at his Nava Jivana Studio. Nayagam at his Sundara Sound Studio were derived from South Indian influence. It was evident that films produced by S.M. Many years ago we had only two studios led by S.M. These documentaries depicted the glories of the country and activities of the government well. The Government Film Unit which was established by European technicians made several documentaries devoid of the South Indian influence. Suffice to say that our Sinhala cinema was thriving under the South Indian influence. What was the remarkable cinematic creation was “Banda Comes to Town” produced in 1952 because of its technique. In the golden era, we had iconic roles such as Rukmani Devi as the Nightingale of the Silver Screen, Mark Samaranayake as the Villain of the Sinhala Silver Screen and Eddie Jayamanne as the King of Comedy. Fight and comic sequences and songs were used to enliven the film. Another dominant characteristic was the tendency to weave the theme around the eternal love stories. In a way, such films can be regarded as an extension of the Sinhala Nataka.Īnother common fact is that these films had been woven around caste conflicts, marriage and feminine fidelity, drunkenness, the nobility of the poor and the meanness of the rich. Perhaps, you might be aware of lengthy dialogues in classical Sinhala, artificially fabricated background scenes and North Indian songs in our early films. Our Sinhala cinema followed the Sinhala Natakas based on the Parsi and Baliwala Nurtis of North India. In other words, the South Indian studios had been made accessible to our film producers. These films were better known as ‘Formula Films”. At the time when the first Sinhala film “Broken Promise” was screened, it was inevitable that South India should serve as its motherland.
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