Rukmani's lilting melodies live on

By Amal HEWAVISSENTI

"Had she (Rukmani Devi) been born in a European country and been trained in the art of drama and music, she would definitely have been a pre eminent soprano vocalist..." (E.F.C. Ludowyke - a reputed producer of English drama in the country)

Her popular image broadened out towards a larger horizon when her picture embellished the cover page of Filmfair magazine.

In public opinion, her massive popularity as an artiste faded into insignificance against her tremendous concentration combined with a pleasing modesty during 1950s. Her singing voice and style which significantly evinced a western hue, was chiselled by English school education and choral singing at church. Yet, her voice could readily be attuned to the moods of western and eastern music styles because she was untutored by any classical school of art.

The Lionel Wendt had made every possible arrangement for her first theatrical performance "Swarna Gee' which occupied much of her time and energy as the day drew nearer. The program was to be staged on October 30 1978.

A special musical show which was staged by Clarence Wijewardana and which has scheduled to be held on October 27 1978, demanded her performance on stage at Uyanwatta Stadium - Matara.

The urge was greater for her to perform at this musical show as it was organised by her friend Clarence Wijewardane and it was to mark the extra special moment where Eddie Jayamanna and she would be duetting after 30 years.

After the successful performance at the show, Rukmani Devi employed her energies on the basic arrangements to stage her first outstanding theatrical performance at "Swarna Gee" her highly cherished hope.

Most obviously, completing her ambitious project, the one man musical show (Swarna Gee) was her top priority and she set off for Bolavalana - Negombo to her mother's blessings for the show.

Unfortunately her vehicle hit a speeding oil truck and she died on violent impact with her vehicle a complete wreck.

D.R. Daniels to Rukmani Devi

Daisy Rasamma Daniels" was baptised for the second time as 'Rukmani Devi' while she was vocalising "Sri Buddhagaya Vihare' for H.M.V. Disk. Before she embarked on cinema music, she had been a gramophone vocalist with an astounding singing flair. "Rukmani Devi's gramophone hits such as "Shri Buddhagaya Vihare", "Purva Kalavu papaya" impressed her fans but a fair appraisal of her songs was not at any rate made during her lifetime.

The popular film songs "Aadaraya Nisa Herde", "Handagilei Ama Mihire" or "Aalokaya Semathena pethire" earned her a regiment of fans. However she commenced her music career with the song "Sri Buddhagaya Vihare" which she vocalised with master H.W. Rupasinghe for an H.M.V. On October 28, 1938.

Kaduwuna Poronduwa

She appeared in a drama at the age of twelve. She acted for the first time in "Ramayanaya" staged at St. Mathew's College, Dematagoda where she studied in 1935. Later she improved her career prospects by being fully involved in B.A.W. Jayamanna's drama ensemble "Minerva" which opened up new possibilities for her. Drama lovers deeply appreciated her leading role (Ranjani) of the drama "Kadawunu Poronduwa" staged by "Minerva" drama ensemble (not the film in the same title).

Rukmani Devi's professional involvement in cinema began with the film "Kadawunu Poronduwa" and her leading performance in the film earned her the label "the first actress in the Sinhala cinema".

That was explicitly a major breakthrough in her life because she, as an artiste had achieved much when the film was being screened' at Kingsley Cinema - Colombo in 1947.

Rukmani Devi was an exceptional actress within the framework of Sri Lankan cinema during 1940s, 1950s and 1960s because of her capacity to play multiple characters in the same film.

For instance she demonstrated the rarest skill in playing a dual role of a mother and the daughter in "Umatu Viswasaya" screened in 1952. This specific capability enabled her to win a growing chorus of praise from film lovers representing almost every category of people.

Moreover her lead roles in "Daivayogaya" the first historical film based on W.A. Silva's novel and "Kelehanda" which is the first Sinhala film to have translated a novel into cinematic medium indeed deserve critical praise.

"Magul Poruwa" screened in 1967, registered her final cinematic performance and thereafter she channelled her great potential to music.

A memorial from a friend

Her tremendous popularity which sprang from her outstanding theatrical performance had earned her a regiment of enthusiastic fans throughout the country.

One such was Leela Kottegoda who was a wealthy confidante of Rukmani Devi and who provided best accommodation for her when she arrived in Colombo on personal business. Not long after Rukmani Devi's untimely death, she erected a life-size statue at her own expense at Ja-Ela where the fatal accident had occurred. The statue on a pedestal was opened for the public at a grand ceremony.

Later, under the permission of Nimal Lanza, the mayor of Negombo and with the support of Rohan Daniels, a cousin of Rukmani Devi, Sriyani Dissanaike managed to erect a special monument for her in Manyokkahena cemetery of Periyamulla.

"I thought of erecting an elaborate monument for Rukmani Devi on her grave. She is a national treasure cherished by Sri Lankans.

"The place where she was buried remained hardly recognisable until recently. It is depressing to note that many have made money by singing her songs.

"Though they profited by her popular songs, they have done nothing to celebrate her value. Even I have sung her popular songs. Thus I erected a monument and established a statue of her bust in it. May she rest in peace..." says Sriyani Dissanaike.

Rukmani Devi's 34th death anniversary fell on the October 28 and it is pathetic to note that even her grave is in a lamentable condition with her memorials completely or partly destroyed by unscrupulous people.

However, it is commendable that Prof. Sunil Ariyarathne made a favourable appraisal of Rukani Devi's immortal legacy to Sinhala theatre and music. He too agrees that no praiseworthy estimate of Rukmani Devi's excellent performance has been made either while she was living or after her death.