Ranjith Daluwatta

Posted in Uncategorized on June 9, 2009 by sinhaladhamma













Posted in Uncategorized on July 4, 2018 by sinhaladhamma

Ajahn Brahmawamso’s Talks

Majjima Nikaya -Mid length Discourses

Ajahn Pannavaddho

Ajahn Brahmali 

Ajahn Kalyano

Ajahn Nyanadhammo

Ajahn Nissarano 

Maha Buwa Nanasampanno

Forest Dhamma

Ayya Khema

Ajahn Ariyasilo

Ajahn Chandako

Ajahn Amaro

 Amatha Gavesi Maha Thero 

Godwin Samararatne

Dhamma  Talks from Knuckles

Death Retreat  2012

Jack Kornfield

Vipassana  Instruction

Word of The Buddha

Tipitaka  Sutta Connected Discourses  

Tipitaka  Middle Length Discourses 

Tipitaka Numerical Discourses 

Tipitaka Long Length Discourse 

Noble Truths with Ajahn Amaro

Ven  Dhammavuddho 

Thanissaro  Bhikku ‘s  Talks 

Religion in Our Time

Philosophy in Our Time

History in Our Time

Its All in the Mind





සිංහල බණ

Posted in Uncategorized on July 4, 2018 by sinhaladhamma


සිංහල ත්‍රිපිටකය

අපවත් වූ ස්වාමින්වහන්සේලා කළ දේශනා

මාතර ඥානාරාම ලොකු ස්වාමින් වහන්සේ 

කෝට්ටේ දේවානන්ද හිමි කළ දේශනා

මාහෝ සුමේධ හිමි කළ දේශනා

නාඋයනේ අරියධම්ම මා හිමි කළ දේශනා

මාන්කඩ්වල සුදස්සන හිමි  2017 දී කළ දේශනා 

උඩුදුම්බර කාශ්‍යප හිමි කළ දෙසනා

උඩ ඊරියගම ධම්මජීව හිමි කළ දේශනා 

එල්ලාවල විජිතානන්ද හිමි කළ දේශනා

කොත්මලේ කුමාර කස්සප හිමි කළ අභිධර්ම දෙසනා

කොට්ටාවේ සුමන හිමි හල දේශනා

පිටිගල ගුණරතන හිමි කළ දේශනා

පාතේගම   සුමනරතන හිමි

නිලඹ භාවනා දෙසනා

ඒ ඩී. එම බුද්ධදාස මහත්මා

පුජ්‍ය මාන්කඩවල සුදස්සන හිමි. කළ

2017 වසරේ ධර්ම දෙසනා
නිබ්බෙදික සුත්‍රය- දේසනා

මජ්ජේ සුත්‍රාන්ත දේශනා

කච්චානගොත්ත සුත්‍රාන්ත දෙසනා –

2500 සිංහල ධර්ම  දේශනා 

පුජ්‍ය නාඋයනේ අරියධම්ම මහා ස්වාමින්වහන්සේ ගේ දේශනා

පුජ්‍ය කෝට්ටේ දේවානන්ද මහා ස්වාමින්වහන්සේගේ දේශනා 

 පුජ්‍ය උඩ ඊරියගම ධම්මජීව ස්වාමින්වහන්සේගේ දේශනා

පුජ්‍ය අම්පිටියේ රාහුළ ස්වාමින්වහන්සේගේ දේශනා

අපවත්වී වදාළ ස්වාමින්වහන්සේලාගේ දේශනා එකතුව

 පුජ්‍ය පිටිගල ගුණරතන ස්වාමින්වහන්සේගේ දේශනා

පූජ්‍ය කටුකුරුන්දේ ඥානානන්ද ස්වාමින්වහන්සේගේ පහන් කනුව දේශනා

පුජ්‍ය කටුකුරුන්දේ ඥානානන්ද ස්වාමින්වහන්සේ – නිවනේ නිවීම

කිරින්දේ ශ්‍රී දේවානන්ද ස්වාමින්වහන්සේගේ දේශනා

2018 වෙසක් ධර්ම දෙසනා

මහා චත්තාලිසාකාර සුත්‍රය- පුජ්‍ය උඩුදුම්බර කාශ්‍යප ස්වාමින් වහන්සේ

අභිධර්ම ධර්ම දේශනා – ඒ ඩී එම බුද්ධදාස මහත්මා

සතිපට්ඨාන සුත්‍ර දේශනා – ඒ ඩී එම බුද්ධදාස මහත්මා



Old Sinhala Gramaphone Songs



සිංහල ගී සින්දු

Posted in Uncategorized on July 4, 2018 by sinhaladhamma

රුක්මණී දේවි

පැරණි සිංහල  ගී

ග්‍රැමෆෝන් ගී

පේමසිරි කේමදාස

අමර ගී සර

මම කැමැති ගී

කරලියෙන් ඇසුණු ගී

සැඩ සුළං

පරණ සිංදු

හෙන්රි ජයසේන

නාරද  දිසාසේකර 

ආනන්ද සමරකෝන්

ළමා ගී 

දේවාර් සුර්යසේන 

දේවානන්ද වෛද්‍යසේකර

ලයනල් රන්වල 

වින්සන්ට් මාස්ටර්

ස්වදේශීය රටා

ලලිත  කළාලය


Posted in Uncategorized with tags , , on June 14, 2016 by sinhaladhamma


2015 – The Lady In The Van


2013 – Philomena

2011 – The Iron Lady

2010 – THE WAY

2002 – The Pianist

2000 – Billy Elliot

1996 – Michael Collins

1994 – Forest Gump

1992- Scent Of A Woman

1989 – Dad

1988 – Rain Man

1979 – Apocalypse Now

1977 – Star Wars

1977- Close Encounters of third Kind

1977- One Flew Over Cuckoo’s Nest

1972- God Father

1971- Fiddler On The Roof

1970 – Love Story

1966 – Torn Curtain

1966 – Blow Up

1963 – Nine Hours of Rama

1962 – Lawarance of Arabia

2015-The Lady in The Van

Posted in Uncategorized on April 16, 2016 by sinhaladhamma

BBC Films released this fabulous movie on 13th Nov 2015 .

Alan Bennett’s story is based on the true story of Miss Shepherd (played by a magnificent Maggie Smith), a woman of uncertain origins who “temporarily” parked her van in Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favor becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen.

Review  By James Southall on Wednesday January 6, 2016

Alan Bennett’s memoir The Lady in the Van concerns an old woman who asked to park outside his house temporarily and ended up staying for 15 years.  He adapted it for the stage in 1999 where Nicholas Hytner directed Maggie Smith and has now written the screenplay for this movie adaptation, with the same director and star (and Alex Jennings playing Bennett himself).  In his youth George Fenton was actually a budding actor and knew Bennett – and in a nice little coincidence, he met the lady in the van herself while he was helping Bennett redecorate his house.  Decades later, he’s written the score for the film (as he has for all of Hytner’s previous ones).

It’s an unsurprisingly light-hearted affair, witty and elegant and completely charming, qualities all thoroughly encapsulated within the delightful main theme which opens the album, “Miss Shepherd’s Waltz”, a musical embodiment of the funny character at the centre of the story.  It’s heard several times, the best and fullest arrangement coming right at the end in “The Ascension”.  The second cue “Moving In” introduces a classical tinge with its lovely piano solos (the lady having been a classically trained pianist in her younger days); and the album features music by Chopin and Schubert in addition to Fenton’s score.

If you could imagine the musical embodiment of a dialogue between Alan Bennett and Maggie Smith then it’s pretty much this score.  The comic flair is gently done for the most part with occasional exaggerated gestures through florid orchestral touches; and it’s all absolutely, steadfastly English.  There are some touching moments too – consecutive tracks “In Care” and “The Neighbours” are just so lovely.  There are darker moments – “Collision and Confession” in particular is very sad, with its hints of mental fragility; later “Curtains Down” is ominous and carries a touch of resignation about it.  There’s a brief cue late on, “Freewheeling”, which momentarily takes the score back towards Fenton’s marvellous Valiantfrom a few years back (sadly it only lasts a few bars).  The score’s finest moment comes towards the end in “A Sepulchre”, a beautiful piece for piano which plays as a touching tribute.  The Lady in the Van really is a delightful little score which ought to bring a smile to anyone’s face – scoring comedy well, writing interesting music for it, is really hard and Fenton has pulled it off with aplomb here.


Two Academy Awards (out of six nominations), five BAFTAs, three Emmys, three Golden Globes, four Screen Actors Guild Awards, and a Tony. It’s exhausting just to list the accolades that Dame Maggie Smith has accumulated over her decades on screen and stage: Imagine how tiring it must have been to earn them all.

Yet at 82, Smith seems, if anything, more lively and ubiquitous than ever before. She’s appeared in 20 films over the past 15 years, notably as Minerva McGonagall, the benevolent headmistress of Harry Potter’s beloved Gryffindor House. And over the past five years she’s also won two Emmys (and been nominated for two more) for her portrait of Violet Crawley on Downton Abbey. It’s a schedule that might break a performer half her age.

For her latest feat, Smith rescues Nicholas Hytner’s filmThe Lady in the Van from the confectionery uplift that otherwise might have swallowed it. Smith plays Mary Shepherd—or, more accurately, someone who has chosen to go by the name “Mary Shepherd”—a real-life homeless woman who, for 15 years, parked her van in the driveway of the real-life playwright Alan Bennett (played here by Alex Jennings). It’s a role Smith has played twice before: in Bennett’s 1999 stage play of the same name (also directed by Hytner) and in a 2009 BBC radio production.

The story begins when Bennett moves into the bourgeois-boho London neighborhood of Camden Town in the early 1970s. (A typical exchange takes place with a neighbor played by Roger Allam: Bennett: “I’ve got a play on in the West End”; neighbor: “Of course you do.”) Shepherd is already a fixture on the block, moving her dilapidated van from curb to curb as needed. None of the resident families are particularly happy to have her park in front of their homes; but all feel ideologically bound not to complain. “That’s Camden,” one explains. “People wash up here.” Or as Bennett himself puts it, “They tolerate Ms. Shepherd, their consciences absolved by her presence.”

2014 – August: Osage County

Posted in Uncategorized on January 1, 2014 by sinhaladhamma

When I said Meryl Streep was at her best in the Iron Lady, I never thought she’d be doing the role of Violet Weston in August : Osage County.

Review By 

A memorably bitter highlight in August: Osage Country, Tracy Letts’Pulitzer Prize-winning play, was the coruscating post-funeral lunch scene. This takes up maybe 25 minutes of screen time in the film, but you’ll be too busy wincing, guffawing and hiding behind your fingers to count them. The tone of this disastrous wake is set, as often, by Violet Weston (Meryl Streep), the malevolent, drug-addicted matriarch of her sizeable Oklahoma family, whose resentments against all three of her middle-aged daughters, as well as various other near and dear, get a thorough and unhinged airing.

Letts has adapted this himself, with John Wells (The Company Men) directing. At first, the film’s heading to be a mild disappointment. The scenes prior to this blazing centrepiece are muffled and rhythmically off, certainly compared with the play’s brilliant staging at the National Theatre, which lured you into this family’s myriad secrets and woes with a cosy largesse. It’s a weakness of the play that the men are much less interestingly drawn than the women, and not all the casting transcends this problem, even if Chris Cooper, as Violet’s brother-in-law, and Benedict Cumberbatch, as her nephew, have their affecting moments.

August: Osage County has no subtext to speak of; it’s all bellowed into your face. On Broadway, its Chicago actors knew how to modulate their performances and together build the tension, beat by beat. (Last year, Letts himself gave a master class in modulation as George in Who’s Afraid of Virginia Woolf?) But director John Wells fractures the action, jumping back and forth between stars in close-up yelling at one another in the style of a more profane Steel Magnolias. In stage adaptations, I prefer direction that’s less on-the-nose and more keyed to the ensemble, to the movement of actors in relation to one another in wider shots. I enjoyed much of it, but I could hear that old man in back of me saying, “No it’s not,” and I wondered if he’d been right. Wells dotes on his actors so much that he exposes the play’s contrivances.

2013 – Philomena

Posted in Uncategorized on November 1, 2013 by sinhaladhamma

I waited for a good movie to mention in my blog for quite a long time, After watching Dame Judi Denchs’ performance and the cinematic composition of a novel based on actual recent history I knew definitely “Philomena” is the move for 2013.\

The following Review was Written by REX REED for NYOBSRVR

Philomena is not only my favorite film of 2013, but one of the most eloquent, powerful and perfect movies I have ever seen. A focused and triumphant performance by the miraculous Judi Dench keeps the harrowing aspects of a great story in flawless balance, and every other aspect of this film works like a hypnotic charm. Sensitively and carefully directed by Stephen Frears and brilliantly written by co-star Steve Coogan and Jeff Pope, it’s a once-in-a-lifetime experience that deserves genuflection.

Ms. Dench gives a wrenching and deeply touching performance of feeling, wisdom and nuance without a trace of sentimental self-indulgence

in the title role of Philomena Lee, a survivor of the despicable Irish Catholic asylums loosely called convents operated by Magdalene nuns in the 1960s to punish wayward girls the church considered “sinners,” many of whom were unwed mothers shut away by their families to hide their shame. The dehumanizing emotional and sadistic physical abuse they suffered as victims of moral rectitude were chronicled in the lavishly praised 2002 film The Magdalene Sisters. This is about one of those victims, a spirited broth of a woman who spent 50 years searching for the son she was forced to give up for adoption without consent.

After decades of fruitless prayers, a chance meeting at a party brings Philomena’s grown daughter, a waitress, in contact with Martin Sixsmith (Steve Coogan), a disgraced political aide to Prime Minister Tony Blair now making a comeback as a journalist for the BBC. Ambivalent at first, he agrees to meet Philomena, and her arresting honesty and unpretentious wit intrigues him. The more he researches her story, the more intrigued he becomes by what became of Philomena’s child. A paper chase leads to America and shocking revelations in Washington, D.C.

For anyone who laments the death of compelling stories in the wake of all the gibberish that passes itself off as filmmaking today, Philomena will revive your faith in movies. Like an overpowering novel you cannot put down, this gripping real-life story allows you to share the journey, step by step, as Philomena, who still clings to her faith, and Martin, a lapsed Catholic and devoted atheist, leave no rock unturned in their search for answers. After the long trip to the old convent, where the young Philomena endured so much horror, the remaining nuns are still hard and unrepentant, telling her the records were destroyed in a fire. But they have a gift shop, where they sell souvenirs for a profit, and a cemetery, where so many of the former girls and their nameless babies are buried. (It’s a graveyard that plays a big role in solving Philomena’s mystery.) With her batteries newly recharged, the sweet, unsophisticated Irish woman named Philomena is beginning to see the light. The more she delves, the more she discovers about her lost child and herself. The convent sold a lot of babies to wealthy American customers. One of them was Hollywood star Jane Russell. I won’t spoil a film beyond reproach by revealing what Philomena finds out about her own little boy, but the facts that tumble out are as turbulent as they are startling. After all the clues are pieced together, the final explanation of what happened to the child—and the look on her face when she learns the truth—will tear your hear out.

Meanwhile, the cynical reporter and the innocent, religious naïf saved by unquenchable hope and indomitable spirit form an unlikely bond that leaves out no funny detail of their own mismatched friendship. Steve Coogan’s writing is a major revelation, bringing to life Martin Sixsmith’s 2009 book, The Lost Child of Philomena Lee, with great humanity and insight. He’s a great foil for the star, the salt in her stew. As for Ms. Dench, the beauty of her spectacular moment-to-moment performance will leave you hanging on the ropes. One of the heroic masters of the craft and artistry of acting, she melts you with her radiance. Mr. Frears, a wonderful director of actors, is careful to give her enough adequate space to feel her way around in. Whether she sheds a tear for other people’s pain or drives you crazy with her habit of repeating the endings of romance novels (“I didn’t see that one coming!” is one of her favorite lines), she is so natural, understated and generous that you are never aware there’s a camera in the room.

It’s profoundly moving and thoroughly mind provoking, but despite the poignant subject matter, I promise you will not leave Philomena depressed. I’ve seen it twice and felt exhilarated, informed, enriched, absorbed and optimistic both times. This is filmmaking at its most refined. I will probably forget most of what happened at the movies in 2013, but I will never forgetPhilomena.

WRITTEN BY: Steve Coogan and Jeff Pope
DIRECTED BY: Stephen Frears
STARRING: Judi Dench, Michelle Fairley and Steve Coogan

The True Story : Real Philomena