Kala Korner by Dee Cee

It's seldom that one topic dominates a discussion at a book launch, but this is what happened the other day at the launch of A. D. Ranjit Kumar's latest book, Nova peraniya lipi saraniya -- a collection of articles, revealing little known facts about men and matters.

The topic discussed at length was Golu Hadawatha. Not many would have remembered that Karunasena Jayalath's novel written in 1962 (Dr. Carlo Fonseka thought it was bolanda) was made into a film six years later by Lester James Peries, followed by a teledrama and more recently a radio serial. An impressive record indeed!

A major factor for the success of the film was the superb performance of Anula Karunatilleka as Dhammi, the teenager who teased her classmate Sugath who remained delovak atara not knowing whether she really loved him or not. The 'real' Dhammi was in the audience at Ranjit's book launch. The announcement created excitement among the large crowd of well-wishers who turned up at Sumathi Court.

Taking on the role of an investigative reporter, Ranjit had tracked down Padma Lalini Kuruppu (a happy grandmother now in her '70s) and invited her for the launch. Earlier he had written the story in the Sunday edition of Lakbima. The trio in the non-fiction version of Golu Hadawatha was Padma Lalini, Jayalath himself (who is no more) and Baldwin Kuruppu, now domiciled in Australia, himself a fiction writer.

Memories were rekindled when an episode from the radio drama was re-enacted by popular actor Asen Manjula (who came into the limelight with the teledrama Amba Yahaluwo) and radio artiste Eresha Lakmali.

Another subject of discussion was the story behind the popular song Nil ahas tale agei - ne walakulu first sung in the early 1940s. Ever since Tissa Abeyesekera gave it a fresh lease of life when he used it in his film, Mahagedara (1982), we hear it every now and then. Ranjit was keen to trace the original singer. Well known educationist U.G.P. de Silva who had first sung the song, had told Ranjit that he had written the lyrics along with U.D. Perera who composed the music.

Eternal favourites

Two other very popular children's songs, Me gase boho - peni dodam thibe and Handa hami hangi hangi ebila balanawa had also been composed and sung by him. They remain eternal favourites.

Ranjit repeats an interesting and revealing note from U.G.P. de Silva's diary dated March 29, 1938: "I took part in a radio play (as a beggar) produced by Mudaliyar E.A. Abeysekera. The name of the play was Samaja Sevakaya (Social Worker) and was written by J. R. Jayewardene. The main roles were played by J. R. Jayewardene and wife Elena. Dr. Gunapala Malalasekera acted as a monk. I composed both songs in the drama. Among the others who acted were Abeysekera and C. Fonseka."

Ranjit adds a footnote, quoting President Jayewardene as saying that the first actor-President was himself and not Ronald Reagan.

At the launch, Ranjit's wife Damayanthi gave life to Nil ahas thale with a bevy of girls.

Journey through a museum

Dr. J.B. Disanayaka described Ranjit's book as a journey through a museum. It's a journey along the passage of time. It creates a lot of interest and promotes a lot of curiosity. Each chapter portrays personalities most of whom are known to everybody. When Ranjit mentions Rajapakse Rajakaruna Mahavasala Dukganna Disanayaka Mudiyanselage Jayaratne Banda Disanayaka, it takes a while to realize that he is referring to JB. To veteran media-man Edwin Ariyadasa, JB stands for Jana Basa because of JB's deep interest in folk literature. Ranjit mentions a rare achievement by JB's family -- the winning of the State Literary Award by three members of the same family, JB, wife Kusum and daughter Madhubhashini.

There is also a father-son combination -- both still active in the literary field – who have won the Literary Award. They are Pandit Wimal Abeysundera and his son Dr. Praneeth Abeysundera. Another unknown fact is that two younger brothers of the well-known writer K. Jayatilleka have also won the award, while K. Jayatilleka has won it seven times from1963 (for his novel Charitha Thunak) onwards.

In his book, Ranjit devotes much space to well known literary figures and activities. He takes us back to the days of the Saman Press, which revolutionized the publishing industry in the 1950s. The highly respected civil servant M.J. Perera was a live-wire of Saman Press, helping them to pick the "better quality" Sinhala books for publication. The start was made with Gunadasa Amarasekera's Karumakkarayo and Sara Bhumi, the Sinhala translation of Good Earth by Urapola Hemaloka Thera and Hemapala Wijewardena. The company's directors were N.E. Weerasuriya, Q.C. (Chairman), H.A.J. Hulugalle and S.W. Walpita. The press contributed much towards the upliftment of the image of the Sinhala books, with imaginative covers, attractive fonts and quality offset printing.

Ranjit's writings certainly are those "that do not age" and once again Sarasavi Publications should be commended for presenting a quality creation to readers.