Sandhya Kumari

Jayasuriya Arachchige Dona Mary Yvonne Perera, better known as Sandhya Kumari (born 6 January 1945 – died 2 June 1994) was a popular Sri Lankan actress who frequently played femme fatale roles in early Sinhala cinema.

She was born on 6 January 1945 in Colombo.

Kumari was married to Upali Perera.

Born in Kotahena on 6 January 1945, Dona Mary Yvonne Perera was later christened Sandhya Kumari following her first starring role.

Her ability to captivate audiences with her versatile acting and onscreen persona was admirable, as were her striking features that made her one of the initial sex symbols of local cinema culture.

As Leenus’s book draws to attention, Kumari’s gaze was a part of her legacy as a servant of the silver screen, expressing nuanced and at times even subtle expressions through her eyes alone.

Film critic Ajith Galappaththi, delivering the main speech for the evening, alluded as to why Kumari’s roles were mainly contained to commercial films when her range allowed her to tackle more mature and dramatic roles.

With eyes that shared a story of their own, Sandhya Kumari was one of the central players in the golden age of Sri Lankan cinema in the 1960s.

Emotive, expressive, and with a commanding presence, the actress held her own; acting alongside greats of the silver screen such as Gamini Fonseka and under the direction of the likes of Titus Thotawatte.

Her career featured more than 50 starring roles including classics of the period such as “Adata Wadiya Heta Hondai”, “Sapatha Soya”, and “Deewarayo”.

Kumari's first film role was in the 1963 film Adata Wadiya Heta Hondai.

Starring alongside Gamini Fonseka, Jeevarani Kurukulasooriya, Ananda Jayaratne, Nelson Karunagama and Vijitha Mallika, Kumari gained fame with the performance.

She then appeared as the heroine in the tale of fisher folk, Dheewarayo, released in 1964.

In 1965, she acted in Allapu Gedera.

Her other films include Patachara,Ipadunay Aiye?, Ran Rasa, Sura Chowraya (1967), Akka Nago, Amathikama, Ataweni Pudumaya, Bicycle Hora, Hangi Hora, Pini Bindu (1968), Kawda Hari, Sooraygeth Sooraya (1969; which featured a fight sequence between her and Sonia Dissanayake) and Sakuntala (1977).

He revealed that she was even preferred by Lester James Peries to play the role of Sarojini in his 1967 film “Ran Salu”.

Galappaththi noted that Kumari ended up turning down many of those roles due to her familial commitments and at times due to the disapproval of her then husband, Upali Perera (although she was well known for her femme fatale roles).

Even as a sex symbol of the era, Sandhya maintained a self-conscious and neutral public image and thus forewent a foray into more serious work, even missing out on the possibility of subsequent international recognition.

Many of the roles Kumari would have been considered for eventually went to Malini Fonseka, Galappaththi stated.

Kumari though, died in 1994, aged 49.

Twenty-five years later, her legacy in Sri Lankan cinema is still well and truly alive as seen by the warm reception to renowned film journalist Sunil Leenus’s new publication “Cinamawe Nomiyana Daasa” – a look at Kumari’s contribution to the industry and a testament to her persona.

Sandhya Kumari, an event hosted by Ceylon Cinema, was full of tributes and memories including a touching recollection of her life away from the camera by Kumari’s second husband, Shantha Athapaththu.