Politics, cinema, and mystery of Richard

Asoka Handagama’s film ‘Rani’ has reignited controversy over Richard de Zoysa’s murder, elevating the debate to new heights.

- By K.K.S. Perera

Even film critiques have shifted their focus from the movie’s artistic merits to its political undertones. Though fictionalised, the film draws unmistakable parallels to de Zoysa’s compelling audiences to confront harsh realities of state violence and censorship. Recently, an English writers’ group devoted a significant portion of their programme to discuss the exceptional talent of Richard as a poet and unique ability to capture the complexities of human emotion, often weaving together themes of love, loss, and social injustice. His works resonated with readers on a profound level, offering both beauty and contemplation.

Armed men abducted 32-year-old Richard from his Colomba home on February 18, 1990. The following evening, his lifeless body was washed ashore near Moratuwa Beach; he was shot in the head, bearing burn marks and showing clear signs of torture. A television newsreader, journalist, poet, and human rights activist and a prominent actor in English theatre, Richard also made significant contributions to Sinhala cinema and produced popular radio programmes. In a desperate attempt to deflect blame and justify his murder, state operatives sought to exploit his sexuality. Richard was intelligent, charismatic, and fiercely articulate. Politically, he was a humanitarian with strong socialist convictions, yet he remained independent of party dogma.

His death remains a subject of intense debate, particularly regarding allegations of his ties to the Janatha Vimukthi Peramuna (JVP) and the true motivations behind his murder. Over the years, competing narratives have emerged—some portraying him as a victim of state repression, while others suggest a more complex picture of his political affiliations