Monday 16 March 2020

Memoirs of Clarice de Silva,sinhala actress






Memoirs of Clarice de Silva,
sinhalese actress

By Stanley Samarasinghe
Amidst achievements and downfalls the Sinhala cinema reached its 61st year on January 26, 2008. It was on January 26, 1947 that the first Sinhala film Kadaunu Poronduwa (The Broken Promise) was released for cinemagoers in this country.
With all his efforts, B.A.W. Jayamanna was able to produce the first Sinhala film and create history. S.N. Nayagam gave financial assistance to fulfil the wish of B.A.W. and it marked the beginning of Sinhala cinema culture. Before Kadaunu Poronduwa, people in Sri Lanka used to be entertained by Tamil, Hindi and English films. Their favourite stars were not Sinhala actors and actresses.
B.A.W.’s attempt paves the way for our young men and women to prove their talents as film actors and actress. He also introduced first Sinhala cinema heroine Rukmani Devi, comedian Eddie Jayamanna and various other talented persons to the Sinhala cinema. Rukmani became the dominant figure as the Queen of Sinhala cinema for more than four decades.

After the screening of Kadaunu Poronduwa, B.A.W. produced two or three other Sinhala films. In the latter part of 1950s he was planning to produce a film named Umathu Wiswasaya (Fanatic Faith) and was looking for young men and women who possessed talent for acting.

One day, a student from the Holy Family Convent of Anuradhapura walked into B.A.W’s house with the intention of meeting then very popular cinema queen Rukmani Devi. At that time, Rukmani was residing at a house close to B.A.W’s residence.
The girl was in her teens with a very attractive figure and looked very impressive. She knew that she had walked into the wrong house. But the person in the house was very inquisitive. Yet, she never thought that, that person was the pioneer of Sinhala cinema. All that she wanted at that time was to meet her favourite heroine Rukmani.
B.A.W. understood her desire and directed her to her favourite heroine’s house. He, at the same time started to converse with her, especially because he felt that he found a talented teenaged girl who can be turned into a future heroine for Sinhala cinema. After a brief chat, he came to know that the girl had come to Colombo to spend her school holidays with relative. She was so fond of Rukmani, she just wanted to see and talk to the star.
By this time, B.A.W. decided to take her for his new film as second heroine.
Two weeks later, the girl who came to see Rukmani went to India with Minerva Film Group and contributed her talent to Umuthu Wiswasaya.

That was the beginning of Sinhala Cinema Heroine Clarice de Silva who acted in nearly 200 Sinhala films. After her break in the first film, Clarice, who was only 14 years old, came back to Sri Lanka and continued her studies at the Holy Family Convent in Anuradhapura. She completed her secondary education and passed the Senior School Certificate (SSC) public examination.
Clarice is the second heroine in the Sinhala cinema after Rukmani Devi who is the icon of the Sinhala cinema. Her parents never objected to her career, but allowed her to enrich the Sinhala cinema.
“When we started acting we did not have any advanced technology like today. Almost all of my films are in black and white and all are Box Office hits. We were able to get profits to continue the industry, without any hindrance,” she told The Nation in an interview.
She also said that she was paid lavishly for her performances in films. “In those days we did not produce Sinhala films in our country due to the lack of facilities. All the film crew had to be taken to India,” she pointed out.
Speaking about the good old days of the Sinhala film industry Clarice said that after her first film she was invited by S.N. Nayagam and Company to sign a contract with very favourable conditions.
“We did our shooting, dubbing and all other production work very happily in India. There we met South Indian and Bollywood film stars and they were very nice to us. Rajendra Kumar, Whahida Reheman, Meena Kumari, Vijayanthi Mala and so many other Bollywood stars joined with us in parties and various social events,” she said.
According to Clarice these actors were moved by the acting of Sinhala actors and some producers invited her to act in Tamil films. “I could not accept their invitations since I was on contract with S.N. Nayagam.”

She added that she never thought of violating the contract and maintained the discipline, which is very essential for artistes.
After the establishment of Ceylon Studios, Wijaya Studio and S.P.M. Studio in Sri Lanka Sinhala actors ceased going to India for film producing. “Since then we lost connection and friendship with our neighbour actors and actresses,” Clarice remarked.
Following are some more excerpts of the interview:
Q: Is the Sinhala cinema in crisis?
A: I cannot say anything about it. However, in my case, I am involved in work even these days. I have also been invited to act in a film titled Dawala Paura (White Wall). Tony Ranasinghe and Sriyani Amarasena are also in the process of making two teledramas and I have been playing two characters in these dramas.
The film will be released in April and the teledramas will telecast in the very near future.
Q: Although you have been with the industry since 1950s, you have been silent for quite sometime and many newcomers are being highlighted in the media.
A: That is the fault of our country. They forget and ignore the past. I was able to contribute my talents to two generations but the authorities are not recognising our service to the country. This is the main reason for the downfall of the industry.
I entered the film industry at a teen age and committed my life to it. I am not demanding any benefit from the authorities. What I want to say is that persons who have been with the industry since the very inception must be recognised without ignoring them.
It was not an easy task to be in the industry where actors and actresses spring like mushroom and then get wiped out of public memory, like bubbles in water or foot prints in the sand, but I remain in the industry even today.

Q: As an artiste who has committed her life to the film industry, what are your suggestions to improve the industry?
A: Our potential is very limited. In Sri Lanka, the majority of the population still consider films as a source of entertainment. In order to give good entertainment, films should be based on strong stories with popular music and very good songs.
Q: Any unforgettable incidents in your career?
A: I have acted in about 200 films and all of them returned good income. Aruna Shanthi, Prema Jayanth, Ravindra Rupasena, Ananda Jayaratna, Gamini Fonseka, Asoka Ponnamperuma, Sesha Palihakkara, Dharmasri Ranatunga, Joe Abeywickrama and Stanley Perera were my co-stars who acted with me.
I gave life to a wide variety of roles: In Puduma Lealie (Wonderful Daughter-in-Law) I was an unkind wife, in Ahankara Ishtree (Proud Woman) I was a comedian girl, in Allapurgedara (The Next Door) I was a singer competing with the neighbour and in Weera Wijaya I portrayed the character of a princess. Mathalan was a very significant film in which I did four characters; the queen, village girl, a dancer and a mother. I acted for almost all major film producing companies in Sri Lanka.
Those companies signed contracts with me because apart from acting I sing, and dance in films





Main Actress / ActressNoYearNameCharacterDirector







Sesha Palihakkara, the protean talented artiste of the bygone golden era of Sinhala cinema passed away at the age of 81 on July 12. His remains lie at Jayaratne Funeral parlour, Borella and will be kept in National Arts Gallery tomorrow from 9 a.m. to 3 p.m. The funeral will be held at Electric Crematorium, Borella at 5 p.m. the day itself. National Film Corporation's Consultant T M Sanghadasa requests all artistes to take part in the event to pay tribute to the versatile personality.


Sesha Palihakkara
Sesha Palihakkara Clarice de Silva,

Versatility was the stepping stone and conquest which promoted him as a key figure in scene of art. For more than six decades he had excelled in the field in diverse streams as a dancer, film actor, director, make up artist, light effects artist and producer. Starting off his stint in the arts scene with dancing, the multifaceted individual soon carved a niche for himself as a lad of many talents.

Palihakkara is not much known to the modern audience despite his immense contributions to the arts scene of a bygone era. His career is a story imbued with revolutionary spirits for today's artistes.

Born and bred in Colombo on June 5, 1928, Sesha was a product of St. Benedict's College, Kotahena, and St. Joseph's College, Colombo. He nursed a passion for dancing from childhood which grew and took form inspired by doyen of the local dance scene, Chitrasena. Naturally due to the social backdrop of the era, his family did not encourage this aspect but he was not one to give up his cravings easily.

He was engulfed by the rhythm of dancing and it was as if the music and he were one. Nothing could hold him back from his destiny. He was encouraged by Chitrasena who became an iconic figure to him and many others in the scene. As the disciple of Chitrasena, Palihakkara was able to envelop into international horizons. He visited Culcutta, where he pursued further studies at Shanthi Nikethan, alias Tagore University. Later he entered the Bharatha school of dancing.

His talents first came to light with his debut movie appearance in Matalanwhere he took on the role of an acrobatic hero, taking up the character of both the father and son. Significantly his performance marked the first time that a Sinhala actor took on double roles in a local production.

His performance in Dr. Lester James Peries' Rekhava was another hallmark in his life. Here he took on the character of a stilt-walker as a result of an encounter with the director who had been employed as a journalist at Times of Ceylon. It is believed that his skills in ballet contributed greatly to his performance as most of the roles he took up required flexible movements.


Sesha Palihakkara and Clarice de Silva in Matalan

The year 1948 provided a chance for him to break into the limelight. He displayed his skills in dancing in an event to celebrate Independence. He even got a chance to be a part of the Rama Gopal Dancing Group and flew to England in 1949 subsequently. He could visit Scotland and Ireland during his two-year stay in England. There he upgraded his knowledge in the field by taking part in workshops based on stage performing.

He began teaching at teacher training college, Maharagama, before establishing his dancing academy called Sardhapani in Cotta road, Borella, in 1952. Reputed figures like Ayesha Weerakoon (now Gwen Herat), Seetha Nanayakkara, Ananda Weerakoon, Sunila Jayanetti, Miranda Hemalatha, Swarna Samarakkodi, Symaen Vanderkoon (Ravi Jayewardene's wife), Titus Totawatta, W. D. Amaradeva and Lionel Edirisinghe frequented the place.

In 1953 he was invited to take part in a Ahankara Striee produced by SM Nayagam. The invitation was extended to his first movie role in Matalan.

With his contribution to Rekhava he reached the peak of popularity. He was flooded with letters expressing love and adoration. When David Lean's 'Bridge on the River Kwai' took shape, Palihakkara wished to join the team. At first it seemed that he might be deprived of the chance but luck turned his way. He got opportunity to play his part as the make-up artist.

Once again he took wings to England with the Rama Gopal team. This time he could travel in eight countries within three years before returning to his native land in 1960.

He met renowned science fiction author, inventor and futurist Arthur C Clarke with Ravi Jayewardene during this era and life took a different turn. Clarke had been watching a movie with Mike Wilson, when they visited him. He had been flirting with the idea of initiating a production company called 'Serendib' with Mike. The idea took form and the company was able to produce Sri Lanka's first colour film Ranmuthu Doova in 1961. They later produced creations like Getavarayo in 1962 and Saravita in 1963. It is believed that Mike's craze for boating inspired the team to produce Getavarayo.

Interestingly Sesha Palihakkara was one of the individuals behind Joe Abeywickrama's shift from the traditional comic roles to more serious character projections.

He also distinguished the difference between a beautician and a make-up artiste by instilling the notion that make-up artiste should take in the persona of the character he is supposed to be applying cosmetics.


Aravinda in Viragaya

This was especially a challenging task as even the slightest speck of a mistake is visible on the screen. At times characters such as Sanath Gunathilaka's role in Viragaya and Gamini Fonseka's role in Seethadevi added meaning to the make-up artist's chore.

In 1965 he produced and directed Lakseta Kodiya while he produced Satyagrahanaya in 1987.

The most significant award he had clinched is probably the lifetime achievement award, Rana Thisara, in 2007.

Palihakkara never craved popularity which he could have summarily achieved with his widely admired performance in Matalan and Rekhava. He was always concerned about the artistic features in a film. His contributions possess a weight and deserve a serious research. Even at 80s, he was seeking a good script to film, Nuvan Nayanajith, author of Sri Lankeya Cinema Vansaya, recollects.

Always a wide reader, Palihakkara would read any kind of books he comes across. At leisure, he always went for gardening. He had a special liking for Orchids, which grew especially during his stay in England, his sister Sheeliya and nephew Lalith recall. This frenzy for gardening resulted in a ballet called 'Romance of an Orchid'.

Sesha Palihakkara filmography:

Ahankara Sthree choreography

Baddegama make-up artiste

Bridge on the River Kwai Assistant Make-up artiste

Christu Charitaya make-up artiste

Getavarayo co-produced.

Lakseta Kodiya directed

Matalan: produced and performed (outstanding)

Maya make-up artiste

Mountain in the Jungle make-up artiste

Poronduva produced and performed

Ragini produced and performed

Rampage make-up artiste

Ramyalatha choreography

Ranmuthu Doova co-produced and performed

Reincarnation produced and performed

Rekhava: produced, performed (outstanding), make-up and choreography.

Sagarayak Meda make-up artiste

Sakvithi Suvaya produced performed and make-up

Saravita co-produced

Satyagrahanaya produced and performed

Seetha Devi produced, performed, make-up and choregraphy.

Suratalee choreography

Till Death Do Us Part produced and performed (outstanding)

Viragaya make-up artiste

Posted by at
Labels: ,

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)