The screen loves a woman’s story, and we do too. From the groundbreaking first Sinhala talkie, Kadawunu Poronduwa (1947), right up to modern films like Ayu (2025), female characters have not just been in the picture, they have often been the picture. This series, Beyond Victimisation dives into the nuanced world of feminine subjectivity, agency and identity across selected Sinhala films. This series is not just about what women do on screen; it is about what they feel, think, and see captured by the lens.
Before reviewing films, this initial episode aims to explore the filmmaker’s attitude towards women and the portrayal of female characters in Sinhala cinema. When examining this portrayal, female characters in Sinhala cinema from the era of ‘Kadawunu Poronduwa’ (Broken Promise) to the present can be broadly classified into three categories:
- Female characters represented in religious contexts with dichotomy of good and evil
- Noble and villainous women in feudal society
- Realistic portrayals of women
Female characters developed within a conservative worldview, based on moral values influenced by religious and moral values, can be categorised as ‘characters portrayed from a religious perspective.’ These female characters are often depicted as inherently “good” or “bad”.
However, these portrayals often oversimplify their personas and neglect to offer a holistic understanding of the socio-political contexts in which they lived and how they interacted with the complex socio-political and economic environments that shaped their characters. Instead, these portrayals create female characters who exist in a world detached from reality and confined to an imaginary realm with inherent moral attributes of “good” or “bad”.
Female characters
Furthermore, an anti-female perspective was prevalent in female characters especially in the early post-colonial period. These female characters conformed to the traditional codes of conduct prevalent in the feudal society of that time. Women who deviated from these established moral norms were often viewed as morally deficient or flawed in character.
Conversely, women who adhered to these traditional standards were perceived as noble, denoting individuals with high moral standards who were considered morally upright in the eyes of society.
During this era, the “noble woman” was often depicted as a village girl – innocent, beautiful, obedient to her lover or husband, and virtuous in every way. Men fortunate enough to be with such a woman were deemed lucky. Conversely, “the villainous woman” was usually portrayed as an urban woman – conceited, laden with sin, disobedient to her husband or lover, and often associated with tragic outcomes for the men in her life.
However, these female characters of the time were not realistically portrayed and exhibited unique characteristics not typically found in the broader world of cinema. They were primarily designed to convey a specific message, often involving character transformation or triumph.
Early Sinhala cinema
From the release of “Kadawunu Poronduwa” in 1947 until the emergence of Lester James Peiris’s cinema in 1956, Sinhala cinema was often viewed as heavily influenced by South Indian cinema. These films were a fusion of local and Indian culture rather than a true reflection of any specific society’s experiences.
From “Kadawunu Poronduwa” until Lester James Peries’s “Rekhawa” in 1956, the predominant representation of female characters can be categorised as ‘characters portrayed from a religious perspective’ as well as ‘noble and villainous women in feudal society’.
During this period, filmmakers like Jayamanna, Shanti Kumar, and Wimalaweera contributed significantly to this style. Even after ‘Rekhawa,’ and up to the present day, there are still numerous films that can be identified as falling within this characterisation. However, the subsequent ‘realistic era,’ which began with Lester’s film “Rekhawa”, aimed to establish independent and realistic cinema in contrast to the earlier prevalence of films inspired by religious and moral perspectives.
This phenomenon is not exclusive to Sinhala cinema; similar characterisations can be found in early Sinhala literature, such as novels and poems. This genre of characters is also a recurring theme in Jataka stories and ancient classical Sinhala literary works.
Movie titles such as “Seedevi” (Beautiful Woman), “Gambada Sundari” (Village Beauty), “Sulalitha Sobani” (Fragile Beauty), “Suvaneetha Lalani” (Obedient Beauty), “Uthum Stri” (Noble Woman), “Ahankara Stri” (Arrogant Woman), “Puduma Leyli” (Wonder Daughter-in-law), “Sundara Birinda” (Beautiful Wife), and “Samiya Birindage Deviyaya” (Husband is Wife’s God) strongly reflect the societal attitudes towards women during that era and the perspectives of the filmmakers.
The third category comprises realistic characters, reflecting the interplay between a character and her socio-political-economic environment. These characters are developed by portraying the influence of the broader social context on the construction of the female character. By considering the social structures that shape these characters, directors were able to create more believable and nuanced portrayals.
Lester James Peries’s “Rekhawa” can be introduced as the pioneering film that provided genuine insights into rural women for the first time. This film has etched its name in the annals of cinema history, not only for its successful character portrayals but also for being the first to embark on the path of realism. “Rekhawa” marks the debut of a successful female character in Sinhala cinema, particularly in the role of the mother.
After successfully developing female characters, it appears that some filmmakers struggled to create films completely free from the attitudes of the early era regarding women. Traditional thinking from that time continues to exert influence even today.
Throughout the history of Sinhala cinema, one recurring theme that merits attention is the frequent portrayal of female characters as victims. This recurring trope, which cuts across various eras and genres, has left a substantial imprint on the industry’s evolution.
The portrayal of women as victims is, in part, a reflection of societal norms deeply rooted in the history and culture of Sri Lanka. It is true that patriarchal traditions and social inequalities have often cast women in roles of subservience and vulnerability. Consequently, filmmakers, seeking to bring attention to these issues, have used female victimisation as a storytelling device.
The trope of female victimisation has a long and enduring history, stretching from witch-hunting in the early modern period to contemporary issues such as domestic violence, gender-based discrimination, societal pressures and Metoo movement. These challenges persist even in a contemporary world where women have gained significant influence and power.
However, this portrayal also presents a paradox, as it can perpetuate stereotypes and limit the agency of female characters which is one of the core aspects of this series of reviews. While it is vital to acknowledge the historical and cultural context, it is equally important to evaluate how these portrayals have evolved and what impact they have had on the perception of women both in cinema and society.
The role of film critics
In this context, film critics and analysts play a significant role. It is a well-established fact that the analysis and critique of female characters in Sinhala cinema have predominantly employed a feminist lens, often emphasising their victimisation.
What has been less explored is how Sinhala cinema portrays the intricate aspects of female subjectivity. Leftist ideologies have exerted a substantial influence on Sri Lankan cinema, shaping its film discourse.
Nevertheless, critics with strong Leftist inclinations have at times approached the interpretation of female characters through somewhat stereotypical feminist lenses. The film criticisms of Prof. Sucharitha Gamlath, Prof. Piyasilee Wijegunasinghe and Sunila Abeysekara are examples of this. Gamini Veragama and Gunasiri Silva’s notable film criticism likewise aligns with a realistic feminist viewpoint. While this approach has enriched the depth of film discourse, it has also occasionally overshadowed the subtleties and intricacies of how female characters are portrayed.
In this context the involvement of Deepthi Kumara Gunaratne in film criticism is significant. His psychoanalytical approach to reading cinema opened up a new avenue for film criticism and influenced many to take a similar path beginning in the 1990s, an era that can be identified as having inaugurated a new art discourse.
The purpose and Scope of ‘Beyond Victimisation’ series
The frequent depiction of victimised female characters in Sinhala cinema, while reflecting the realities of society, raises questions about how women’s roles are evolving on the cinematic screen.
As societal and economic conditions progress, it becomes increasingly important to re-evaluate the representation of women and their agency in narratives. This series of reviews seeks to dissect the nuanced portrayals of female subjectivity in specific Sinhalese cinematic works, with a particular emphasis on delving into the inner complexities of femininity that often get overshadowed by a sole focus on victimisation.
The scope of this series extends from early films like Lester James Peries’s “Gamperaliya” to more contemporary releases like Chinthana Dharmadasa’s “Avilenasului”, and Chathra Weeraman’s “Ayu” as I seek to trace the transformation of female characters and their subjectivity.
Catch you next week…