Vadeesha Devaminda Wickramanayaka is a highly creative and sensitive young music student in his school. A special love letter that he finds accidentally, written by Punya, a women, more ...
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Vadeesha Devaminda Wickramanayaka is a highly creative and sensitive young music student in his school. A special love letter that he finds accidentally, written by Punya, a women, more mature than him in both age and life, motivates him for some soul searching. He is also haunted by guilt, because he fails to deliver the letter, to who it belongs. His relentless efforts to return the letter to the women to her lover, fail. Sympathy mixed with emotions of love he feels towards this women, leads to him creating a song that captures a cathartic experience. This popular creation and many other songs that he gives birth to, for a period of 20 years, makes him a prominent musician in the country. But however, his memories and nostalgia towards Punya make him a failure in his married life. Although he regains his life by returning the letter to Punya after 20 years by chance, she is now left with a feeling of void her life.Written by
Talking about Sinhala cinema, I have never before seen what i call a "cinematic experience" quite so powerfully endorsed in a similar theme, which compelled me to write a movie review for the first time in life. I do not believe the story to inspire much suspense or twist unless you were expecting a thriller, which the movie is definitely not. The director and the script have done great justice to the soul-searching experience in the movie, by not spoiling it with a twist and also not building up unnecessary suspense to send the moviegoers home, disappointed. The story-line, theme and music blended with the performance of the two main actors Uddika and Yashoda, have delivered such a hypnotic cinematic experience, which the Sinhala cinema has been deprived of for decades. Being a new face in the big screen, Uddika put up an impressively sensitive performance, which aligned the movie with its theme through the depth of his emotions,with eminent support from the script. In fact, his performance and music, were the life of the movie from scene 1, which invited the audience to a rather spiritual experience since the very beginning, so that a lack of twist should not be felt a cheating. Yashoda, though well done, played safe in her comfort zone of the charming and feminine woman. On the down side, little attention to detail has been paid to the recreation of "before sms era". Posters, vehicles in the background, clothing, fashion etc looked too modern and little/nothing did the art direction do to make the audience feel it was 1992, hadn't the period been displayed. Further, inconsistent performance by Pubudu(though played well in the latter half), over-acted and over-written comic scenes, negative value additions by Roshan and Chathurika were the let downs that robbed the movie of its right tune. About the young protagonist, he had quite a complex role to play between "is it love", "is it guilt" or "what is it" could have been improved given more than necessary screen time given to him. I believe he failed to deliver the passion displayed by the older protagonist, which should have been more intense and lively during the younger years. Overall, the movie was hypnotic. Hats-off to Jayantha Chandrasiri, a genius in the Sinhala art field, for bringing in such a novel experience to a war-ridden and period movie-ridden cinema. However, i expected more perfection from him with respect to the above demerits, him being Jayantha Chandrasiri, whose pieces of work such as Dandubasnamanaya and Wedahamine practically defined a mini cinema in the small screen of the country. But one thing that remains as powerful to date, is his divine blend of music with a strong performance of the protagonist, which makes the viewers live it, than watch it. That's what makes this an experience rather than just a movie.
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