MONARCH OF SINHALA MOVIELAND
by D.B.S. JEYARAJ
Legend passes away" it said. An uncontrollable feeling of sadness overwhelmed me. Gamini was
no more. It was as if a part of ones life had ended. Nostalgic journeys down memory lanes of the
past becomes inevitable.
I was born in 1954 the year that Gamini entered the field of cinema. It was only in March this year
that Dharmasiri Gamage and other like minded souls celebrated Gamini's Golden jubilee in films
by organizing a "Raja Dekma" in his honour. Dharmasiri passed away some days ago. Now
Gamini too has followed suit.
I had planned in March to write an article in appreciation of Gamini Fonseka then. Due to many
reasons it got postponed. Then other pressing matters and a feeling of revulsion about Sri
Lankan politics caused a mental block. The very question of writing became anathema for a
while. The whole business of writing on matters Sri Lankan seemed purposeless.
Gamini's death however has compelled me to write again. Feeling extremely guilty about not
having penned an article in his honour while he was alive I now pay tribute to the man after his
death. This article is to honour the memory of a man whom I loved as an actor, appreciated as a
director, admired as a politician and above all respected as a decent human being.
One is grief - stricken because Gamini the actor on the Sinhala silver screen became an
important part of life in childhood. This is the kind of relationship one has with actors , singers,
writers and sportsmen. The impact of films and film stars in the South Asian region is
Phenomenal. Childhood impressions in that sense are indelible.
Belonging to a middle class Tamil family living then in Colombo I was drawn into the world of films
at an early age. The staple diet of this film fascination was naturally Tamil - MG Ramachandran,
Sivaji Ganesan, Gemini Ganeshan, SS Rajendran, Ranjan etc were the Tamil cine heroes who
enthralled me then.
But I was indeed fortunate that despite my Tamilness I was equally attracted to Sinhala movies
from an early age. This affinity for Tamil and Sinhala films itself was viewed as something unusual
at St. Thomas's Prep or STC Mt. Lavinia where I studied in the sixties. Few Sinhala or Tamil kids
saw Sinhala or Tamil films in those schools then. But then I was indeed lucky to savour Tamil,
English and Sinhala movies from a very young age.
As children we were enamoured greatly of action movies. "Fighter" actors were relished as
opposed to "character" actors. So MGR , Jaishnkar, Anandan, Ravishankar from Tamil movies
along with Charlton Heston, John Wayne, Yul Brynner and later Clint Eastwood were my
childhood favourites. As far as Sinhala films were concerned there was only one and that of
course was Gamini.
Gamini Fonseka entered my life when I was about eight years old. The place he did so was a
movie theatre in Maradana bearing his own name Gamini. "Ran Muthu Duwa" was my first
Sinhala Movie. The family went to see it for two reasons. One because it was the first Sinhala
technicolour film. Secondly to see the famed underwater scenes made possible by Mike Wilson.
Gamini along with Jeevarani, Shane Gooneratne and Joe Abeywickrema starred in it. Gamini's
acting, dancing and fighting captivated me. I was well and truly hooked. I never ever recovered.
The song and dance sequence " Pipee pipee Renu Natana" remains fresh in memory even now.
I still remember the melody and some of the poetic lines like "Apey watte mal pipila meemassen
wikvela" and "Rana giraw Kumbura udin mal mal gamanak giya" etc.
To digress slightly many years ago while returning from an outstation journalistic assignment in
Sri Lanka the journalist fraternity in the vehicle burst into a singsong as was customary then.
After regaling colleagues with Tamil songs I was asked to sing a Sinhala number. I sang the "Ran
Muthu Duwa" song. Udaya Manawasinghe who was present was very happy and told me that it
was his father's composition.
My admiration and fondness for Gamini's films grew over the years. Initially the attraction was
mainly the fight scenes. Gamini brought a refreshing naturalness to those scenes as opposed to
the artificiality in South Indian ones. It was later that one learned to appreciate the finer points of
his acting.
There was hardly a Gamini Fonseka film that I missed in the sixties. This was due to a woman
Mary Caroline who was then a domestic helper at our home. She stayed with the family for about
seven years. Mary was an avid Gamini fan. So I would accompany her every month to Sinhala
films in general and Gamini Fonseka films in particular. This was how I managed to see so many
of his films in my childhood. "Chandiya", "Soora Chowraya" and "Sorungeth Soru" were some of
my favourites then This is how Gamini Fonseka became a permanent part of my childhood
memories. He remains there forever.
A break with Sinhala movie going came in the early seventies when my family moved to Jaffna. I
returned with a vengeance to "Sinhala chitrapati"after we shifted back to Kurunegala and then
Colombo. One recalls wistfully the hours of enjoyment at the Jupiter, New, Modern , New Imperial
theatres in Kurunegala and Roxy, Saphire, Elphinstone and Gamini in Colombo. Not only did I
see new films but also several old ones when re - screened.
I remain to this day a firm Sinhala film aficionado not only of quality films but also of those
masala movies. Lester, GDL, Nihalsinha, Siri Gunasinha, KAW, Pathiraja, Sumithra, Tissa,
Vasantha , Dharmasiri , Parakrama and Prasanna took Sinhala cinema in a new direction away
from shackles of Bombay and Madras. But for sheer entertainment one cannot forget the
"popular" films of Cinemas, Ceylon Theatres and people like Yasapalitha, Tampoe, Morais, Dev
Anand etc too.
Gamini straddled both these worlds with ease. He was both an "arty" actor of powerful serious
movies as well as a " melodramatic " star of popular cinema too. He was artistically appreciated
and commercially valued. For two decades and more Gamini was the uncrowned king of Sinhala
cinema. He made his mark as both actor and director. In the process he helped liberate Sinhala
cinema Indian constraints and gave it fresh perspective and dynamic direction.
Gamini also elevated the standards of Sinhala cinema and provided it with integrity and self -
respect. He fought for the upliftment of the industry and fellow artistes and technicians. Gamini
Fonseka is inextricably intertwined with the evolution and growth of Sinhala cinema.
My formative years as a Sinhala film fan were therefore heavily influenced and shaped by Gamini
Fonseka. To me and millions of other like minded people Sinhala cinema was personified by
Gamini Fonseka for a long, long time. Notwithstanding the brilliant creators of our times who have
elevated the standards of Sinhala films one is unable to imagine or visualise Sinhala cinema
without thinking of Gamini Fonseka. Sinhala cinema is certainly not Gamini Fonseka but without
Gamini Fonseka there is no Sinhala cinema either. His death therefore marks an end of an
epoch!
Sembuge Gamini Shelton Fonseka was born in Dehiwela on March 21st 1936 as the third child
of William and Daisy Fonseka; After initial schooling at a Presbyterian institution he went to St.
Thomas's College, Mt.Lavinia. He made his mark there not as a Thespian but as an artist of
repute. He was capable of caricaturing school masters mercilessly.
Apart from art young Gamini also excelled in Sinhala language and literature while at college.
One of his proudest moments was when he won the Sinhala literature prize when he was in the
upper fourth. He received his prize from old Thomian and first prime minister of Independent
"Ceylon" DS Senanayake. He was also a good cricketer.
Involved in many a schoolboy skirmish Gamini had to cut short his secondary education early.He
then entered the wonderful world of films in a technical capacity. He worked under the legendary
David Lean for "Bridge on the river Kwai" and our own Lester James Peiris on "Rekawa". His
association with Lester as an assistant director on Rekawa changed Gamini's line of destiny
forever. Gamini's first screen appearance was "Rekawa" as part of a crowd. The same man went
on to become a crowd puller in later life.
Gamini then acted in an English television series about the antics of an "elephant boy" filmed in
Sri Lanka. He was also production assistant.
His first big break in acting came with "Daiwa Yogaya" in 1959 where he played a secondary role.
Senadheera Kuruppu and Rukmani Devi were in the lead roles. Then came Lester's "
Sandesaya" where nominally Gamini played second fiddle to Ananda Jayaratna but stole the
show from him with a stellar performance.
It was around this time films like "Adata wediya Heta Hondai" Ranmuthuduwa" "Getawarayo" and
"Dheevarayo" exploded on the screen and established Gamini as a box office draw . He proved
however that he was not a melodramatic actor singing, dancing and fighting alone by making his
mark as a character actor in Lester's "Gamperaliya" that won the Golden Peacock in New Delhi.
Once again Gamini was the "third" to Henry Jayasena and Punya Heendeniya but gave a
performance par excellence as Jinadasa.
Titus Totawatte's "Chandiya" was a milestone. This was perhaps the first anti - hero role of
Sinhala cinema. Gamini breathed and lived the part of a tough guy. Titus had a sequel "Chutte".
It was in a way art imitating life because Gamini was in every way a "Chandiya" in real life.
Thomians of yesteryear speak volumes about his martial prowess. The benchmark of his fighting
prowess was the "historic" encounter with Dehiwela's "strongman" Karthelis the brother of S de S
Jayasinghe.
A major reason for the naturalism in Gamini's fighting scenes was the man himself. He was a
fighter both orthodox and unorthodox. He often got into brawls always or a good cause. One
such incident was at Embilipitiya Circuit bungalow when the caretaker and his cronies in an
intoxicated state picked a fight with the film crew on location there. Gamini pitched in with flying
fists and proved that his macho image was not confined to celluloid alone. He then moved the
entire crew at his expense to Tissamaharama.
There was a time when film artistes and technicians were treated rather shabbily by the film
makers. Gamini changed all that to a great extent. He fought for their rights and dignity with the
film makers, distributors, media , film corporation and government. Yet he was not complacent
and remained concerned about their plight.
He was unhappy about the way the various regimes treated and continue to treat the film
industry. At his "Rajadakma" Gamini advised artistes to spurn politics and went on to observe "I
have worked for both parties but no one has done any good for the film industry or artistes".
Gamini reached the peak of his popularity in the late sixties and early seventies as romantic
action hero. When Sean Connery won over the western world as Ian Fleming's James Bond in
"Dr. No" and "from Russia With Love" Mike Wilson cashed in on the "OO7" craze with a Sri
Lankan version. Enter our own man with a license to kill - Jamis Banda. Who else other than
Gamini could do justice to the role in "Sorungeth Soru?
There were other popular roles too with Sri Lankan versions of the famous Tamil "Vallava" film
series starring Jaishankar and Manohar produced in Tamil Nadu by Ramasundaram of Modern
Studios. Gamini was the mainstay of the "sooraya" film series in Sinhala. " Soorayangath
Sooraya", "Edath Sooraya Adath Sooraya" "Sooraya Soorayamai" " Hatharadenaama Sooraya"
etc. The action films of old had a simple underlying thread that good triumphs over evil. So
Gamini like MGR gave us a happy feeling and inspired all to greater heights.
This success in action movies did not mean that Gamini was playing stereo -typed roles alone.
Far from it! He played a variety of roles and proved his thespian skills in many. Two memorable
performances were in Lester's "Nidhanaya" and "Yuganthaya: as Willie Abeynayake and Simon
Kabalana. "Nidhanaya" Lester's masterpiece is the only Sinhala film to be included in the 100
Best Movies of the World list.
There have been several actor - directors who failed when directing themselves. It was a case of
underplaying or overacting. One man who performed this dual role creditably was Hindi cinema's
Raj Kapoor (Awaraa, Barsat, Shri 420 etc) In Sinhala cinema Gamini was one man whose acting
did not falter when directing.
Starting from "Parasathumal" to others like "Uthumaneni" "Sagarayak Medha" " Koti Waligaya"
"Nomiyena Minissu"etc Gamini played his roles remarkably in those films. At the same time he
stamped his arterial mark as director. One cannot place him in the class of an A plus director in
Sinhala cinema. But an A minus director he certainly was.
Parasathumal in particular was brilliantly directed and proved a path breaking venture. It is
indeed hard to believe that Gamini was under thirty when he directed this maiden venture. After
Gamini's death I borrowed a DVD of "Parasathumal" from a friend and viewed it again. Being in a
sentimental haze perhaps I was astounded by the movie. Gamini as Bonnie Mahathmaya was
simply superb!Gamini as director brought out fantastic performances from Punya, Anula and
Tony!
Other noteworthy films where his histrionic skills were strikingly displayed were "Getawarayo"
"Hulawali" "Oba Dutu Daa" "Sekaya" "Sanasuma Kothanada" "Weli Kathara" "Sana keliya",
"Deviyane Oba Kohedha?" , "Sekaya" and "Sarungale". His performances in films directed by
him were all fabulous.
"Sekaya" produced by SPM movies and directed by E. Rathinam was a remake of the Tamil
classic "Deivapiravi". Gamini, Rita Ratnayake and Tony Ranasinghe played the roles acted by
Sivaji. Padmini and SS Rajendran in the original. I had the chance of seeing both films again in
my twenties again. It was then that I marvelled at Gamini's performance as against that of Sivaji.
Sivaji like MGR, SSR etc came to film from the stage. Gamini like Gemini Ganesh came straight to
films.
Incidentally both Gamini and Sivaji were greatly influenced by Marlon Brando. Gamini combined
shades of Sivaji, Brando, Brynner and Paul Newman. His primary inspiration however was
Brando. The Hollywood giant passed away some months ago. Though affected by Brando it must
be said to Gamini' s credit that he evolved his own "fusion" style and distinctive method.
Two English films starring Gamini Fonseka that I have sen are "Sitadevi" and "Rampage". In
Manik Sandrasagara's "version" of the Ramayana Gamini played a modern Ravana to Bengali
actress Mamta Shankar. Rampage was a Moby Dick type of man vs beast saga with an elephant
as protagonist. In this Gamini played a planter - hunter opposite Mary Tamm who also acted in
Frederick Forsythe's "The Odessa File".
Gamini also acted in an Indian Tamil movie "Neelakkadalin Orathiley". He had two heroines
Radha Saluja the Hindi actress and Sri Priya the Tamil - Telugu star. An Indian Tamil magazine
review described Gamini as a "Koluk moluk Biscuit Pappa" look alike. What it meant was that
Gamini had "babyish" looks alike the child models in advertisements for biscuits. Radha Saluja
became a close friend and used to correspond with him for a long time.
Gamini however never acted in a Sri Lankan Tamil film. When reputed writer Senkai Aaliyaan's
"Vadaikaatru" (North Wind) was filmed Gamini was approached for the "Viruthasalam " character
role. It did not work out. But Gamini gave an astounding performance as a Tamil in Sunil
Ariyaratne's "Sarungale". He played Nadarajah, the Jaffna Tamil clerk in a story that highlighted
both the anti - Tamil communal violence as well as the caste contradictions among Tamils.
Among places that "Sarungale" was filmed in was Karaveddy my mothers ancestral village.
Gamini himself was very proud of his role in that. Once in a conversation before the film's
release he told me personally "any Sinhala man who sees this film will never lay hands on a
Tamil again". Alas! That was not to be and not many years later came Black July 1983.
But one thing that must be emphasised in the case of Gamini Fonseka that he was a man with
absolutely no trace of communalism in him. I have had only about four or five conversations with
him including an interview for the "Virakesari" in 1978.This is not enough to gauge a man but two
lengthy conversations with him convinced me of his bona fides in this respect. But there have
been several people intimately knowledgeable of Gamini like his close friend Sivanandhan (now
in Canada) who directed him in "Oba Dutu Daa" who vouch for the greatness of the man in this.
A notable feature of Sri Lankan films both Sinhala and Tamil is the multi -ethnic diversity of the
industry. Sinhalese, Tamils both Sri Lankan and Indian. Muslims , Malays and Burghers have all
contributed to this. The contribution of Tamils to the Sinhala film industry is massive starting from
that pioneer SM Nayagam producing "Kadawana Porunthuwa".Many leading Producers,
directors, cinematographers, technicians, studio owners and even some artistes have been
Tamils.
Gamini acknowledged and appreciated this immense contribution by the minority communities to
Sinhala cinema. He has not been afraid to state this publicly whenever the occasion arises. He
did so in the Golden Jubilee celebration and also in what was perhaps his last interview given to
Prasad Gunewardene and Stanley Samarasinghe of "Daily News" .One important reason among
many for the decline in Sinhala cinema is related to the escalating ethnic conflict. The single
greatest blow to Sinhala cinema was the burning of Vijaya Studios along with the film archives.
Many Sinhala films including those of Gamini 's have been irretrievably lost
In conversations with Gamini I have often heard him refer to many of the Country's problems
including the ethnic crisis as having been caused and exacerbated by "third grade politics" "dirty
politics" etc. He has often uttered these words in some films too. The more I read of what
transpired in this Country in the Donoughmore era and the post - Independence years the more I
am inclined to agree with Gamini. Contemporary politics of which I have enjoyed a ring side view
as a journalist has only strengthened that viewpoint. Even now the selfish, irresponsible conduct
of our so called leaders demonstrate that we are on accelerating towards doomsday.
Unfortunately for Gamini he too was sucked into politics. He began involving himself in politics
during the days of Dudley Senanayake as a UNP supporter. The days of JR saw Gamini take a
back seat. The ascendancy of Premadasa saw him get back in the fray. In the face of JVP terror
Gamini braved the odds and contested in Matara. He won and became deputy speaker. Soon
disillusioned he wanted to quit but stayed on because he did not want to abandon Premadasa in
the face of the impeachment crisis.As deputy speaker he conducted affairs in all three languages
and without fear or favour.
He felt out of place in a UNP sans Premadasa and was soon attracted to Chandrika
Kumaratungas politics. The mid nineties was an idealistic phase where many thought Chandrika
Kumaratunga was going to usher in a new era. Gamini was one who thought so too. He was first
disappointed by the national list fiasco. Amends were made by making him North - East
Governor. He was excited at first and had many plans to develop the areas and alleviate the
suffering of the people. Once again he was to be thoroughly disappointed. After frustrating
agony Gamini quit.
Thereafter his advice to all film artistes was not to enter active politics. Had he followed his own
advice he may have been spared heartburn and disappointment that ultimately debilitated him. If
Gamini had not entered full time politics he would have been able to contribute much to Sinhala
cinema as a director and as an actor playing mature roles. He had turned to song writing too and
may have impacted positively in that sphere too. One aspect that cannot be lost sight of is that
Gamini never entered politics to make money or for position but from a sincere desire to serve
the people and Country.
He was immensely helpful to people ranging from an old schoolmaster to out of work actors and
technicians. Much of his charity was done without fanfare and publicity. Some people call him
proud but others have found film accessible and friendly. Gamini made it a point to attend
funerals of loved ones in the industry and also visit them when ill in hospital. The genuine
outpouring of grief at his death was illustrative of the esteem in which he was held by his peers.
He has acted opposite many actresses but the one with whose chemistry Gamini hit it off best
was Malini Fonseka. Two others who paired well with Gamini were Jeevaranee Kurukulasooriya
and Veena Jayakody. According to Gamini Sandhya Kumari was the most beautiful actress he
interacted with while Malini was the best. The best actor according To Gamini was Joe
Abeywickrema - not himself. The best director who brought out the best in Gamini as director
was Lester and Gamini himself.
The film reels have run their course. The projector has ceased humming. The curtain has rolled
in. The Gamini Fonseka show has ended. The lights are on again but the light has gone out of
Sinhala cinema. All that we have are fond memories of the past and copies of his available
movies. The memory of this monarch of Sinhala movieland will never cease. Thank You Gamini
for innumerable hours of entertainment, pleasure and satisfaction. Thank You again!
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