Punya Heendeniya and the cinema of femininity

“He was a rich man now,” she hesitantly uttered in Gamperaliya, thus setting down the confusions and conflicts and shifts of temper that would adorn the first honestly conceived Sinhala film ever made. The man who taught her English in that sequence, conducting lessons under her mother’s watchful gaze, aspired to be that rich man, and for the entirety of the film and its sequel, Kaliyugaya, he hoped to win her…