By

D.B.S.Jeyaraj

Gamini Fonseka has been my favourite Sinhala film actor . since childhood. Gamini entered my life when I was about eight years old. The place he did so was a movie theatre in Maradana bearing his own name Gamini. ‘Ran Muthu Duwa’ was my first Sinhala movie.

The family went to see it for two reasons. One reason, because it was the first Sinhala technicolour film and the other, to see the famed underwater scenes made possible by Mike Wilson. Gamini along with Jeevarani, Shane Gooneratne and Joe Abeywickrema starred in it. Gamini’s acting, dancing and fighting captivated me. The song sequence ‘Pipee Pipee Renu Natana’ remains fresh in memory even now.

I was well and truly hooked after seeing Gamini for the first time on screen. I never ever recovered. There was hardly a Gamini Fonseka film that I missed in my younger days. Gamini Fonseka became a permanent part of my childhood movie memories. He remains there forever.The movie-monarch’s 89 th birth anniversary will be celebrated on March 21.

Gamini Fonseka was a man whom I loved as an actor, appreciated as a director, admired as a politician and above all respected as a decent human being. Writing about Gamini Fonseka is always a pleasant and delightful exercise for me. I have often done so before and will be revisiting some of my earlier writings to enhance this article.

Sole Super Star

My formative years as a Sinhala film fan were heavily influenced and shaped by Gamini Fonseka. To me and millions of other likeminded people, Sinhala cinema was personified by Gamini Fonseka for a long, long time. Notwithstanding the brilliant creators of our times who have elevated the standards of Sinhala films, one is unable to imagine or visualise Sinhala cinema without thinking of Gamini Fonseka. Sinhala cinema was certainly not Gamini Fonseka but without Gamini Fonseka there was no Sinhala cinema either. He was the first and arguably the sole super star of Sinhala cinema.

Gamini Fonseka was my hero during childhood mainly because he was an action hero on screen. Initially the attraction of was mainly the fight scenes. Gamini brought a refreshing naturalness to those scenes as opposed to the artificiality in South Indian ones. It was later that one learned to appreciate the finer points of his acting. A major reason for the naturalism in Gamini’s fighting scenes was due to the nature of the man himself. He was a fighter both orthodox and unorthodox. He often got into brawls but always for a good cause.

Among the many movies of Gamini was Titus Totawatte’s ‘Chandiya’ in 1965.It was a milestone in Sinhala moviedom and Gamini’s career. This was perhaps the first anti-hero role of Sinhala cinema. Gamini breathed and lived the part of a tough guy. Titus had a sequel ‘Chutte’.

Gamini acting as ‘Chandiya’ – meaning tough guy – was in a way an instance of art imitating life because Gamini was in every way a ‘Chandiya’ in real life. Old Thomians of yesteryear speak volumes about his martial prowess during school days. The benchmark of his fighting prowess however was the ‘historic’ encounter with Dehiwala’s ‘strongman’ of yore – Karthelis.

Gamini vs Karthlis Fight

I had heard many versions of the Karthelis fight in Dehiwela but the most authentic and accurate account was told to me by my old schoolmate and former journalistic colleague Prasad Gunewardene.Prasad’s paternal grandmother was Gamini’s father Willie Fonseka’s eldest sister. Prasad has regaled me over the years with several anecdotes and tit-bits about his Gamini Mama.. Prasad Gunewardene who is no more gave me a detailed description of what had exactly happened then.

The clash with Karthelis had originated with Gamini’s father William Fonseka known as Willie. A friend of Gamini Fonseka was knocked down while crossing the road by Karthelis who used to drive a taxi in those days. Fortunately he sustained no injuries. Karthelis who was notorious for his rash driving had verbally abused the victim in raw filth. The man complained about this incident to Gamini’s father Willie Fonseka, who was highly respected in the area. Willie Fonseka had accosted Karthelis and chided the Dehiwala strong man in public over his deplorable conduct.

Later in the day Karthelis with a gang of 10 thugs arrived in two taxis at Willie Fonseka’s house. Willie Fonseka opened the gate and faced the gang alone. Two of the men had swords. Willie’s brothers Nelson and Garmoyle and cousin Fred (Prasad’s father) who were in the house at that time also joined in the fight.

Gamini was then eating in the kitchen. Hearing the commotion he came running. Clad in sarong and clogs, Gamini slipped and fell in his haste. Five of the thugs held him down and tried to hack Gamini with the swords. Fortunately Willie and the others came to Gamini’s rescue and seized the swords. Karthelis and his goons fled, leaving the swords behind. They were displayed as trophies in the Fonseka household for years.

Gamini himself was taken to Durdans Hospital and treated for his injuries. No complaints were made to the Police. Gamini vowed that he would teach Karthelis a lesson and challenged him to a “man to man” fight. Karthelis never accepted the challenge.

Years later Gamini was driving his car on the Galle Road when he saw Karthelis standing near the Wellawatte-Dehiwala bridge. Gamini got down from his vehicle and went up to Karthelis. Then began the historic fight reminiscent of ASP Randeniya vs Goring Mudalali in ‘Weli Kathara’.

Gamini thrashed Karthelis mercilessly in the one-on-one fight duel. The Dehiwala strongman was chased across the Galle Road one side to another and back by Gamini who pummelled Karthelis blue, black and blue. Gamini then went away telling Karthelis that he was ready for a return fight “any day, anywhere, anytime”.

Karthelis was hospitalised after the fight. He never took up Gamini Fonseka’s challenge. This was the beginning of the end for the Dehiwala strongman who simply faded away after the incident.

March 21st 1936

Sembuge Gamini Shelton Fonseka was born in Dehiwela on March 21, 1936 as the third child of William and Daisy Fonseka. After initial schooling at a Presbyterian institution he went to S. Thomas’ College, Mt. Lavinia.

After finishing secondary school, the “tough” Gamini had first wanted to be a Policeman. He had applied for a sub-inspector post and was called up for an interview. His mother Daisy pleaded with him not to join the Police. Gamini then turned to what was his second love then – cinema.

Lester James Peries

It was Lester James Peries who gave Gamini his first break in movies as an actor through ‘Rekava’. Gamini showed his face for the first time on screen in a scene in the film. He was working as a camera cum production assistant for Lester. It was Lester who made Gamini an assistant director for his second film ‘Sandesaya,’ in which he also played the second lead to Ananda Jayaratne.

Three of Gamini Fonseka’s memorable character portrayals on screen were as Jinadasa, Willie Abeynayake and Saviman Kabalana in the films ‘Gamperaliya,’ ‘Nidhanaya’ and ‘Yuganthaya’ respectively. All three were directed by Lester. Gamini’s first attempt at directing was ‘Parasathumal’ in which Lester played a behind the scenes role as an adviser and guide.

Gamini’s first big break in acting came with ‘Daiwa Yogaya’ in 1959 where he played a secondary role. Senadheera Kuruppu and Rukmani Devi were in the lead roles. Then came Lester’s ‘Sandesaya’ where nominally Gamini played second fiddle to Ananda Jayaratna but stole the show from him with a stellar performance.

It was around this time that films like ‘Adata Wediya Heta Hondai,’ ‘Ranmuthuduwa,’ ‘Getawarayo’ and ‘Dheevarayo’ exploded on the screen and established Gamini as a box office draw. However Gamini proved that he was not a melodramatic actor-singing, dancing and fighting-alone by making his mark as a character actor in Lester’s ‘Gamperaliya’ that won the Golden Peacock in New Delhi. Once again Gamini was the ‘third’ to Henry Jayasena and Punya Heendeniya but gave a performance par excellence as Jinadasa.

James Bond -Jamis Banda

Gamini reached the peak of his popularity in the late sixties and early seventies as romantic action hero. When Sean Connery won over the western world as Ian Fleming’s James Bond in ‘Dr. No’ and ‘From Russia With Love,’ Mike Wilson cashed in on the ‘007’ craze with a Sri Lankan version. Enter our own man with a license to kill – Jamis Banda. Who else other than Gamini could do justice to the role in ‘Sorungeth Soru’?

There were other popular roles too with Sri Lankan versions of the famous Tamil ‘Vallava’ film series starring Jaishankar and Manohar produced in Tamil Nadu by Ramasundaram of Modern Studios. Gamini was the mainstay of the ‘Sooraya’ film series in Sinhala. ‘Soorayangath Sooraya,’ ‘Edath Sooraya Adath Sooraya,’ ‘Sooraya Soorayamai,’ ‘Hatharadenaama Sooraya,’ etc.

The action films of old had a simple underlying thread that good triumphs over evil. So Gamini like MGR gave us a happy feeling and inspired all to greater heights. This success in action movies did not mean that Gamini was playing stereotyped roles alone. Far from it! He played a variety of roles and proved his thespian skills in many.

Noteworthy Films

Other noteworthy films where his histrionic skills were strikingly displayed were ‘Getawarayo,’ ‘Hulawali,’ ‘Oba Dutu Daa,’ ‘Sanasuma Kothanada,’ ‘Weli Kathara,’ ‘Sana Keliya,’ ‘Deviyane Oba Kohedha?’ and ‘Sarungale’. His performances in films directed by him were all fabulous.

Gamini combined shades of Marlon Brando, Yul Brynner and Paul Newman in his acting. His primary inspiration however was Brando. Though affected by Brando it must be said to Gamini’s credit that he evolved his own ‘fusion’ style and distinctive method.

Nadarajah in “Sarungale”

Gamini gave an astounding performance acting as a Tamil in Sunil Ariyaratne’s ‘Sarungale’. He played Nadarajah, the Jaffna Tamil clerk in a story that highlighted both the anti-Tamil communal violence as well as the caste contradictions among Tamils.Gamini himself was very proud of his role in that movie.

Once in a conversation before the film’s release he told me personally “any Sinhala man who sees this film will never lay hands on a Tamil again”. Alas! That was not to be and not many years later came Black July 1983.

One thing that must be emphasised in the case of Gamini Fonseka is that he was a man with absolutely no trace of communalism in him. I have had only about four or five conversations with him including an interview for the ‘Virakesari’ in 1978.Those conversations and testimonies of persons who knew him well including Prasad convinced me of his bona fides in this respect.

A notable feature of Sri Lankan film heritage – both Sinhala and Tamil – is the multi-ethnic diversity of the industry. Sinhalese, Tamils Sri Lankan and Indian, Muslims, Malays and Burghers have all contributed to this. The contribution of Tamils to the Sinhala film industry is massive. Gamini acknowledged and appreciated this immense contribution by the minority communities to Sinhala cinema. He was not afraid to state this publicly whenever the occasion arose.

108 Films and One Teledrama

In an illustrious career spanning almost five decades Gamini Fonseka acted in 108 films and one teledrama. He played the lead role in 89 films and a supportive actor role in 19 movies. Gamini directed 10 and produced two films. He has also written lyrics and stories for a few films. The only teledrama Gamini acted in was ‘Sudu Saha Kalu’ directed by D.B. Nihalsinghe. Gamini acted as ‘Kalu Mahathaya’ in the teledrama.

He has acted opposite many actresses but the one with whose chemistry Gamini hit it off best was Malani Fonseka. Two others who paired well with Gamini were Jeevaranee Kurukulasooriya and Veena Jayakody.

According to Gamini, Sandhya Kumari was the most beautiful actress he interacted with while Malani was the best. The best actor according to Gamini was Joe Abeywickrema – not himself. Gamini also had immense respect for Tony Ranasinghe as the finest character actor. The best director who brought out the best in Gamini as director was Lester and Gamini himself.

Actor-Director

There have been several actor-directors who failed when directing themselves. It was a case of either underplaying or overacting. One man who performed this dual role creditably was Hindi cinema’s Raj Kapoor (Awaraa, Barsat, Shri 420, etc.). In Sinhala cinema Gamini was one man whose acting did not falter when directing. Starting from ‘Parasathumal’ to others like ‘Uthumaneni,’ ‘Sagarayak Medha,’ ‘Koti Waligaya,’ ‘Nomiyena Minissu,’ etc., Gamini played his roles remarkably in those films. At the same time he stamped his auterial mark as director. One cannot place him in the class of an A plus director in Sinhala cinema. But an A minus director he certainly was.

I remain to this day a firm Sinhala film aficionado not only of artistic quality films but also of those melodramatic “masala” entertainment movies. Gamini straddled both these worlds with ease. He was both an “arty” actor of powerful serious movies as well as a “melodramatic” star of popular cinema too. He was artistically appreciated and commercially valued.

Uncrowned Monarch

For many decades Gamini Fonseka was the uncrowned monarch of Sinhala cinema. He made his mark as both actor and director. In the process he helped liberate Sinhala cinema from Indian influence and gave it fresh perspective and dynamic direction. Superstar Gamini Fonseka is inextricably intertwined with the evolution and growth of Sinhala cinema. He passed away at the age of 68 on 30 September 2004.

D.B.S.Jeyaraj can be reached at dbsjeyaraj@yahoo.com

This article appears in the “DBS Jeyaraj Column”of the “Daily Mirror”dated 10 March 2025.It can be accessed here –

https://www.dailymirror.lk/opinion/Gamini-Fonseka-was-an-artistically-acclaimed-commercially-valued-actor/172-303994

*********************************************************************