‘Sihinayaki Adare’ is a romance drama film released earlier this year featuring Pooja Umashankar and Hemal Ranasinghe in the lead roles. Co-produced by father-daughter duo Sadesh Kumar and Shevangi Sadesh Kumar of Real Image Creations – a renowned production company known for its commercially successful films – the movie garnered significant attention upon its release.
The production of ‘Sihinayaki Adare’ commenced in 2019 but encountered challenges due to the unforeseen circumstances brought about by the Covid-19 pandemic and subsequent economic crises. Consequently, the film faced delays in its release, remaining in pre-production for a considerable period. However, following its release in 2024, the film has achieved notable success and has been warmly received by audiences.
Based on the 2013 Indian Tamil language film titled ‘Raja Rani,’ ‘Sihinayaki Adare’ is a remake that pays homage to its predecessor, which enjoyed immense popularity and garnered positive reviews from film enthusiasts.
‘Sihinayaki Adare’ the film
The film itself undoubtedly offers an enjoyable experience. Having watched it at PVR Cinemas amidst a relatively enthusiastic crowd, our own cinema experience was enhanced by an engaging interaction between the audience and the film. There was palpable excitement in the hall and the production quality of the film elicited reactions from the audience, particularly during intense scenes.
However, it is worth noting that the film’s aesthetic may appear somewhat dated, especially in terms of fashion and technology. Nevertheless, these minor details do not detract from the overall enjoyment of the production.
Our personal experience differed somewhat as we had not seen the original film on which it is based. Therefore, we lacked a point of comparison. Although some in the theatre expressed that they couldn’t help but compare each scene, they noted that they were pleasantly surprised to find that the filmmakers had not attempted to replicate the actors’ appearances. Instead, they had successfully adapted the story to Sri Lankan culture, allowing the audience to appreciate the film as a standalone work.
The production
Real Image Creations – the family-owned production house responsible for this film – is known for its Tamil film remakes and generally commercial productions. Real Image Creations has produced four films to date, beginning with ‘Super Six’ in 2012, followed by ‘Pravegaya’ in 2015, ‘Maya’ in 2016, and now ‘Sihinayaki Adare’ in 2024. Remarkably, all these films have enjoyed commercial success despite representing different genres.
Speaking to Brunch, Real Image Creations Co-Producer and Head of Marketing and PR Shevangi Sadesh Kumar shared that while ‘Sihinayaki Adare’ was her first co-producer credit, all productions in the past had been a collective family effort.
Regarding ‘Sihinayaki Adare,’ Shevangi conveyed that despite the challenges, including reshoots and scheduling complications, they had maintained confidence in the story and their product. She emphasised on the timeless nature of the narrative, stating that the delays did not cause concern for them.
Discussing the casting process for the stars, Shevangi highlighted their success in securing strong actors, particularly praising Pooja’s extensive experience in the industry and Hemal’s introduction through their first film. She stated: “Hemal is like family and he had all of the qualities we were looking for. We needed performers who were able to embody these characters and not simply copy the originals and these two had those skills we needed.”
Shevangi further said that the operational approach of Real Image Creations as a production house was somewhat different. She noted their status as a family unit of avid film enthusiasts, with their grandfather having been a producer himself and their deep ties to Indian cinema. She expressed a sense of kinship with the industry, suggesting that filmmaking was in their blood. Unlike many other productions that rely heavily on directors for tasks such as casting, they assume a more hands-on role, reflecting their commitment to their craft and the personal investment they bring to each project.
The anatomy of a remake
Shevangi also addressed the nature of remakes and how Real Image Creations had garnered a reputation for producing such films. She noted that they had observed a relative gap in the Sri Lankan film industry between art house-style indie films and big historical dramas.
She stated: “What we want to make are commercial films, films to be enjoyed by everyone.” Shevangi candidly acknowledged that there was also a financial aspect to their decision to bank on previously successful intellectual properties. This approach reflects their commitment to creating content that appeals to a wide audience while also considering the practicalities of film production and distribution.
When it comes to remakes, the general public is not always well-versed in what goes on behind the scenes. A popular criticism we observed for ‘Sihinayaki Adare’ was that it is a ‘copy’. There were comments online stating that “This is a copy of a Tamil film,” “It is not original,” etc., largely because the audience is unaware that these productions are official remakes which have obtained rights and followed due process.
Shevangi shed light on the art of remakes and how it was also a facet of filmmaking: “This type of criticism really does not faze us, as we are well-versed in the industry and we know what we are doing. Also, despite making remakes, the adaptations we have produced have been largely incredibly well-received. The majority are positive reactions and there will always be a few who say negative things.”
Shevangi’s remarks underscore the importance of understanding the nuances of film production, particularly in the context of remakes. Real Image Creations remains steadfast in its commitment to delivering quality adaptations. By acknowledging the positive reception of their productions while also recognising the existence of detractors, it demonstrates a balanced perspective and a resilient attitude towards their work in the film industry.
Given the nature of the Sri Lankan film industry, which, while having an illustrious history, remains quite small and limited, Shevangi said: “There is a finite number when it comes to the audience we can reach, and after all, we must look at the return on our investment; when you look at it that way, a remake is something we can be confident in.” She further noted how it was a win-win situation for both the audience and the filmmakers, since the audience was sure to enjoy the film and the filmmakers were sure to recover their investment.
She however shared that while they did make remakes, they would not simply copy a film, noting that the adaptation of Indian Tamil films was largely because these films tended to be closest to Sri Lankan culture, which allowed for ease of adaptation and a seamless transition from an Indian film to a Sri Lankan film.
“It is more believable and while we want to make commercial films, we always want to ensure a quality production,” she said, adding that by adapting these popular films, they were also able to provide an opportunity for local talent to shine.
“We have had many occasions where a lot of the technical crews that work with us wish to remain on our productions and return to work with us because it offers them the chance to learn and improve. While often the face of our productions will be local, since we hire Sri Lankan actors, we do bring down some Indian crews to assist with maintaining that high production quality. These technical experts are bringing with them the experience of India’s vast film industry, which allows a lot of our local crews to grow with them,” she said.