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  TV Guide Magazine  


 

Picture poetry of Death and Life

Directed by: Aruna Paththinige

Co Produced by: Leelasena Sarukkalige

Written by: Nihal Bandara

Music by: Asoka Kolavilage

Choreography by: Moksha Samarasuriya

Cast:
Samudra (Deva S.Jayasinghe), Bhumi/Bhumika (Menaka Gardhi), Akash (N.B. Jayathilaka)

Art Director:
Jayampathi Narampanawa
 

The Sun Will Rise Tomorrow (The Hope) is fine picture poetry. This has nothing to do with Sekera’s work of poetry under the same name – the difference is that this is a cinematic story.
This copy becomes poetry in motion due to no part of it being precisely set according to a 100% ruling. Like in other works of this nature the wonderment of expressions seem to tell another tale between lines at unbelievable times.
Only the three main characters are visible right through the copy of this motion of poetry. The main background consists only of a forest, lake and a grassy field. If not for the four songs its costumes and background design would have been limited to one and the same. Its poetic motion makes it rhythmic and the music makes the movements in line with a dance routine in a cultural drama of poet Kalidas type of film script. Another specialty is that it is in two parts.
Summary of Story:

Part 1

Death
Although Samudra was once a doctor of medicine, today he is a Yogi. Among the State forces and terrorists within an open space devoid of the two in the jungle by himself he contemplates in meditation in a shelter. On the path he uses to get to the market place he discovers soldier Akash who has been shot and lifeless and gives him shelter and treats him back to good health. In the meantime they discover each other. Quite different in feelings they put into poetic expression, song and verse the character of sweet Bhumika with the anklet, who enters the scene next.

Bhumika’s mission the next day was that of a human bomb and she was to carry a bomb on her and explode it at a sports event, but decides otherwise at the last moment, because she has the urge to carry on living and is on the run when she enters the shelter, and ruins the peace of all three of them.

Akash is bent on getting rid of this young Tamil female. The entry of this woman into his shelter made him to carry out his contemplations disturbed Samudra too at first tries persuading her kindly to go away. But she refuses the suggestion made and her constant friction with Akash makes her reveal her identity as a human bomb. Thereafter, she carries on staying there threateningly and forcefully.

These frictions make each other lose their trust, sleep, tranquility and meditation. Fear of each other makes them sleep out of the shelter in the bushes of the jungle. Due to this they come to an agreement to get rid of Bhumika’s bomb and not live in fear of death.

Getting rid of the bomb in a lonely spot in the jungle near a pond Bhumika dances and performs with vigour to express her happiness. Watching her near nakedness makes Akash lose fear of death and Samudra of living that loomed in their subconscious.

Part 11

Life
In the second part the three of them after losing fear and suspicions start having human feelings once more. Both Samudra and Akash begins to arouse in secret their love and feelings for the young maid, in fear. Samudra who contemplated on being an ascetic, now sees female forms instead.
Akash who wanted to study meditation under Samudra also felt uneasy and both suffered as a result. Bhumika continues to act as a normal maid stringing garlands with flowers, putting ‘pottu’ on her face, applying scents on herself, dancing and singing some of the sixty four crafts used by females to entice males. Soon she tries learning Kama sutra from Akash and meditation from Samudra at the same time.

By now Samudra and Akash, suspicious of each other get into a tussle to win her attention; once on his return after visiting the marketplace, he day dreams of her bathing half naked in the pond through fear he rushes to relate it to her in the form of poetry only to discover Akash and Bhumika in a compromising situation.

Out of jealousy at what he saw he tries to win her towards himself by gifts and presents. But the worldlier Akash and Bhumika inevitably fall in love. This love that develops slowly brings back hopes of life to them. But Samudra who suffers as a result of this development of struggle for love trilogy and brings back to verse and poetry and song to finally end up with the success of the binding of Akash and Bhumika.
Behaving in a deceitful manner Samudra tries to give the impression Bhumika is having a liaison with him. Although Akash and Bhumika get angry over this he does not leave her. Trying to make use of the situation, Samudra tries to get closer to Bhumika. When she becomes pregnant by Akash, Samudra tries to say it is he who made her pregnant. Finally, the child is born. Thereafter the ending is most surprising and you have got to see it to get the true feeling.

Classic tale of star crossed lovers

By Ishtartha Wellaboda
The story of ‘Ruwan Maliga’, the latest hit series to join Sirasa TV’s ‘Randepaya’ line-up, tells the classic tale of two star crossed lovers separated by social barriers. The latest TV soap opera that will soon unfold on ‘Sirasa TV’ will tell the story of Maheema and Vishakha the two childhood friends, who are separated, only to meet again years later as lovers.
Vishakha played by new comer Nino Jayakody is a poor lottery ticket vendor and sole breadwinner of his family. As a child he befriends Maheema, the daughter of wealthy businessman Ranaraj. Later on the young Maheema is sent away by her family to study at a school in Colombo. But they meet again as young adults due to a twist of fate.

When Vishakha joins a Japanese language class with the hope of going to Japan in order to support his family he meets non other than his childhood friend Maheema. It does not take long for their rekindled friendship to turn into blossoming love.
But the usual barriers confront them in the form of Maheemas father and the rich boy who is betrothed to her Ramesh Attanayake.

The drama unfolds with the side stories of Maheemas brother, Pahan, who works with the union of his father’s estate. Vishakha’s sister Malithi is a great admirer of Pahan. The story is about Maheema’s elder sister Panchali, who is ultimately deceived by Ramesh’s brother Jehan. Will the two lovers be able to finally come together? Will the support of Vishakha’s friend Leader and Maheema’s mother Trilishiya be enough for them? To find out the end of all of this watch ‘Ruwan Maliga’.

Apart from the main actors, Nehara Pieris and Nino Jayakody, the rest of the cast will be supported by Sriyantha Mendis, Kusum Renu, Kavinga Perera,Nadeesha Alahapperum, Malini Weeramuni,Jagath Chamila,Deepani Silva,Nethmi Adikari, Sudarshana Bandara

The teledrama was directed by Ravindra Wijeratna and Producer Sandya Mendis. Also supporting the production of the drama are; Linear Producer Saliya de Zoysa, Scriptwriter Kavinda Malaviarachchi,Asst Scriptwriter Uvani Chamika, Assistant Directors Pradeep Jayantha and Eranda Madushan,Art Director Priyantha Ranasinghe. The camara was handled by Jayantha Ranasinghe. Production Manager was Tharanga Dissanayake

The tunes and the theme song were composed by Rohana Weerasingha while the Make-up was handled by Pushpakumara Bandara. The drama was edited by Thilanka Bandara.

INTERNATIONAL

The hero who refused to kiss Thamanna

Telugu films are pouring on Thamanna who had almost acted in all the Tamil films with leading actors. Now she is pairing with Allu Arjun in a Telugu film titled Badrinath. Vinayak is directing this film.
The director wanted to shoot a lip to lip kissing scene between Allu Arjun and Thamanna. Now kissing scenes have become inevitable in Telugu films. All the Telugu films have kissing scenes. Thamanna got ready for this scene but Allu Arjun refused to kiss.
In spite of the director requesting him many times, Allu refused to act in the kissing scene. When enquired about this, the crew said that Allu films which had kissing scenes have flopped and hence he is sentimentally refusing to do these kinds of scenes.
 

FIRST LOOK: Golmaal 3

Funny times are back again, as Dhilin Mehta and Rohit Shetty team up once again with their lethally comical combination of a sizzling star cast and a hilarious storyline that is sure to leave you reeling with laughter.
We are talking about Golmaal 3, produced by Shree Ashtavinayak Cine Vision Limited and directed by Rohit Shetty who, after the smashing success of Golmaal Returns and All The Best, is ready to entertain you once again with his rib-tickling comic caper.
Golmaal 3 will have the beloved ‘Golmaal gang’ of Ajay Devgan, Arshad Warsi, Tusshar Kapoor and Shreyas Talpade, who are being joined by Kunal Khemu this time. The vivacious Kareena Kapoor will be adding her zing to the film with a fresh new look.
What is more, Ajay Devgan fans will be ecstatic to see the star in a never-seen-before ‘avatar’with a rugged hair style and an amazingly toned, tattooed torso. This new ‘look’ has been conceptualisd by Rohit Shetty himself and styled by celebrity stylist Hakim’s Aalim. The very talented Navin Shetty will be doing the costume styling for the boys (Ajay, Arshad, Tusshar, Shreyas and Kunal) in the film.

Vidya replaces Rani

Both Rani Mukherjee and Vidya Balan appeared rather content with their roles in the upcoming film No One Killed Jessica. But rumours of a cold war between the two have been doing the rounds since a while. Why? Here is what added fuel to the simmering fire – a mosquito repellent!
A famous mosquito brand which Rani was endorsing earlier has decided to replace her with Vidya. This may come as a surprise to many, but sources close to the brand insist that Vidya has an edge over Rani, because unlike Rani’s diva demands and aloofness, Vidya is quite approachable and sweet.
Also, Rani has not created major waves with her latest film, Dil Bole Hadippa, and is no longer hot property in Bollywood. Vidya has developed a girl-next-door and take-home-to-your-mother image for herself. She is also on the plump side, and has made several fashion faux pas in the past, so people identify with her.