Thunman Handiya Sinhala Film [REPACK] Download
Thunman Handiya Sinhala Film Download
The Sathana Waththa is Jothipala’s last work, a humorous study of the fortunes of the Sinhala middle class in the face of unexpected financial difficulties and the conflicting cultural character of modernity. The protagonist is a middle class Sinhala woman, the daughter of a renowned “mahajanaya” (court singer) and a member of a middle class family. The story ends in a pleasant manner, as the protagonist is seduced by a charming and eligible suitor.
The most powerful moment in the movie is the last and most turbulent assassination attempt. ‘Sarana Khaththa wezaaya’ (Shahana was getting marred) is an officer of the Eastern Province police who is entrusted with its protection. Her personal security is disrupted when the assassin, wielding a knife, arrives at the ‘breakfast’ spot in which her meeting has been planned. From the outset, one of the major psychological thriller themes is triggered as the assassin, seeing his target standing with a comrade (and both are underarms of a policeman) proceeds to dispatch only the two. The murderers are given repeated warnings as the police constable recognizes the assailants as the friends of a rival company of assassins and a mullah exhorts the policemen to intervene. The introduction of this new danger and its probity is itself a complex one, and yet it doesnt carry any sense of supersensitivity. Perhaps, what we have instead is a tragic irony of the type wherein one character, with an apparent intent, unwittingly provokes another to act. The closer we come to the climactic moment, and especially the final assassination attempt, the more awkward we are able to feel towards the police officers. We, as if looking at them through the eyes of the murderer, feel we are of the same rank. Finally, their fall from grace is painful to watch. Taking the whole script for the 15 minutes, I feel that the last two minutes was all too long and thats an old Sinhala theatre trick for shortening a dull scene. The introduction of the dog, one of those familiar old Sinhala theatre tradition, gives way to the concluding shots which have become too wordy. The sinew of the sequence is its ordinary and, consequently, its satirical on the absurd Sinhala cowart tradition.
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