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It was the first locally produced Sinhalese film though in technique it still remained South Indian.Nayagam followed the film with Prema Tharangaya (1953) and Ahankara Sthree (1954).In his work, Wimalaweera researched Sri Lankan history when depicting historical characters like King Asoka, who oversaw the introduction of Buddhism to the island and Saradiel, a Robin Hood-like character.breaking into the scene with the technically skilled Sujatha made at the state of the art Modern Theaters studio in Salem, India.After considering several options, he decided to build the film around the historical love story of Saliya and Asokamala and held a contest to find a suitable screenplay; the winner was budding artist Shanthi Kumar. Jayamanne to film his popular play Kadawunu Poronduwa.Due to disagreements however this project fell through and Nayagam broke a deal with dramatist B. determined to film his script left Nayagam's company and convinced the Ceylon Theaters group to fund his film. Jayamanne produced a string of popular movies based on his plays.It was also the first Sri Lankan film where, like in "Rekava", the dialog was recorded on the spot.
in 1932, the first sound film to be screened was shown at the Regal Cinema, titled "The Dream." By the 1930s Indian films started to surpass English films in popularity.Faced with a more daunting task of putting together the film from scratch, the Ashokamala project began filming in Coimbatore about two months after the production of Kadawunu Poronduwa had initiated. These were Peralena Iranama, Kapati Arakshakaya, Weradunu Kurumanama (1948), Hadisi Vinischaya (1950, first film directed by Jayamanne; he handled the post on all his subsequent films), Sangavunu Pilithura (1951), Umathu Wishwasaya (1952), Kele Handa (1953), Iranganie (1954), Mathabedaya (1954), Daiva Wipakaya (1956), Wanaliya (1958), Hadisi Vivahaya (1959), Kawata Andare (1960), Jeewithe Pujawa (1961), Mangalika (1963) and Magul Poruwa (1967; completed after his death by another director).Naygam's film would win out screening at the Mylan Theater on January 21, 1947. Jayamanne mostly adhered to a formula derived from South Indian cinema and didn't contribute to the development of artistic film.Following this breakthrough, several artistic Sinhalese films were made in the late-1960s including Sath Samudura by professor Siri Gunasinghe, ably supported by exquisite cinematography by Dr. Director Asoka Handagama especially has drawn criticism for pursuing such material in his work.In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.