In the world of Sinhala cinema, Amarasiri Kalansuriya’s name is synonymous with rugged charm, raw acting talent, and a signature hairstyle that captivated audiences in the 1970s and 1980s. Sadly, Kalansuriya passed away on April 1, leaving behind a rich legacy in Sri Lankan cinema. His portrayal of unconventional, anti-hero characters broke the mould of traditional leading men and earned him numerous awards and critical acclaim. But it wasn’t just his acting skills that left a lasting impression on fans – it was also his unique sense of style, including his iconic hairstyle that set him apart from other actors of his time. In this obituary feature, let’s explore the impact of Kalansuriya’s career and his lasting legacy as an actor and style icon.

Exactly two years prior to Amarasiri Kalansuriya’s death, Thilak Perera conducted a riveting interview with the revered Sinhala cinema star, which was later published in the Sarasaviya cinema weekly. It’s eerie how the timing lines up perfectly. Kalansuriya tragically passed away on April 1 of this year, and Perera’s interview was published on the same date in 2021. An excerpt of the interview is a must-read, as it encapsulates the essence of this beloved actor’s illustrious career:

Ahas Gawwa film

Yasa Isuru film

“Kalang, the mischievous Casanova of Sinhala cinema, is a force to be reckoned with. This obstinate fellow blazed a trail in the industry by introducing imitation fashion to the masses through his daring wardrobe choices. Not content to rest on his laurels, Kalang also fearlessly tackled the subject of underprivileged youth in his cinematic portrayals. It’s no secret that I hold a special place in my heart for this rascally-looking yet brutally honest man, whose contributions to the world of cinema far surpass those of his whippersnapper predecessors.”

Amarasiri Kalansuriya, or as he was affectionately known, Kalan, was a stalwart of Sri Lankan cinema, theatre, and television. Born on September 20, 1940, in the charming city of Kandy, he began his illustrious acting career with a bang, appearing alongside the legendary Vijaya Kumaratunga in Hanthana Kathawa. Kalansuriya’s stardom continued with his next film, Ahas Gauwa, which earned him the coveted Best Actor award in 1974. He was an alumnus of the esteemed Dharmaraja College, a testament to his commitment to excellence in all areas of his life.

Making of a career

Kalansuriya’s career trajectory took an interesting turn when he was tapped to be the lead actor in Reyath Dawalath, an 8 mm film directed by a member of the Photographic Society who happened to be a Kingswood College student. Interestingly enough, the female lead in the film was played by Anoma Wattaladeniya, who would go on to marry director Ranjith Perera and become a renowned TV presenter in her own right. But it was Kalansuriya’s role as a university student in Hanthane Kathawa, directed by Sugathapala Senarath Yapa and recommended to him by Dharmasena Pathiraja, that truly launched his career. His immense talent as an actor was on full display in Pathiraja’s Ahas Gawwa, Lester James Peries’ Akkara Paha, and Ranjith Lal’s Nimwalalla, showcasing his versatility and range as a performer.

In 1978, Kalansuriya accepted an invitation from HD Premaratne to star in the film Apeksha. However, it was his performance in Parithyagaya, his second film after a hiatus, that truly solidified his place as one of Sri Lanka’s most talented actors, earning him accolades from both the OCIC and Sarasaviya. Throughout his career, Kalansuriya would go on to star in a plethora of critically acclaimed films, including Tharanga, Bambaru Avith, Anupama, Podi Malli, Kanchana, Sinhabahu, Vajira, Sakvithi Suvaya, Yasa Isuru, Doringe Sayanaya, Podi Wije, Ahas Maliga, and Sagarayak Meda. He was also the recipient of several awards for his outstanding performances, including the Critics’ Award for his role in Ahas Gawwa in 1974, the Sarasaviya Award for Best Supporting Actor in 1982, and both the Sarasaviya and Presidential Awards for Best Supporting Actor in 1986 for his work in Pooja.

Podi Vijei film

Kalansuriya was a trailblazer in more ways than one, as evidenced by his leading role in the first-ever television serial made in Sri Lanka, Dimuthu Muthu, which was directed by DB Nihalsinghe. He also made his mark as a theatre actor, producing and starring in the play Podi Vijay. After taking yet another hiatus from the silver screen, Kalansuriya returned to film in 2001 with Shilpa Denumena, which was directed by Rodney Widanapathirana.

Significant blow to the standard image

Sunil Mihidukula, an expert in Sinhala cinema, credited Kalan with revolutionizing the standard image of curly-haired actors overnight through his role in ‘Ahas Gauva.’ This film showcased an actor who intentionally left his hair unbrushed and messy, dealing a significant blow to the established star image of Sinhala cinema. Mihidukula notes that while Joe Abeywickrama laid the foundation for actors like Linton Semage, Jackson Anthony, Mahendra Perera, and Saumya Liyanage, Kalansuriya emerged as a force to be reckoned with on the other side.

Tilak Perera recalls a time when every boy at Wijerama junction was trying to dress like Kalang, the rebel of Sinhala cinema. The elders even adopted his style, wearing their shirt’s top buttons after watching his movies. That’s the influence Kalang had on the fashion and culture of his time.

Perera’s mother had a story to tell about the time when ‘Pooja’ was airing on independent television. Tilak Perera, then a young boy, was curious about the hairy guy on screen who wasn’t very tall. It took him four to six years to finally realize who this actor was. One late night while switching channels, he stumbled upon ‘Hantane Sahe’ on national television and that’s when Amarasiri Kalansuriya caught his eye. From then on, he became a fan of the hairy rascal who stood out in Sinhala cinema. Kalansuriya’s signature hairstyle, with hair falling on his face, was something he did by hand and it often left young women in the seventies and eighties mesmerized. The effort made by the youth of that time to emulate Kalansuriya’s style is truly remarkable.

The remains of veteran actor Amarasiri Kalansuriya. Picture by Nissanka Wijerathne