Dharmayuddhaya 2: When the hero saves the world but doesn’t trust his wife

Just last night, we finally managed to find some time to watch ‘Dharmayuddhaya 2’. I went with the cousin brother I grew up with and our spouses. As we came out of the theater, my brother jokingly asked, “Can you tell the moral of the movie?” Of course, he meant it as a joke. But his question brought out something unsettling that I had been feeling throughout the movie.

I responded loudly, “Ganunta kisi rahasak kiyanna epa kiyalane kiwwe” — meaning, “Didn’t they say not to share secrets with the wife?” We both laughed out loud, probably drawing attention from those still coming out of the theater.

I don’t know whether everyone else who watched the movie walked out with the same sentiment. There have been many reviews praising the production, and I wouldn’t disagree with them. But I haven’t seen many people talk about the ideology the movie was subtly promoting.

Looking down on women is still something we do as a society, regardless of generation. Maybe as millennials, we are better at identifying stereotypical narratives. But we are still learning how to push back against them.

The movie, technically, was well done. The cast was excellent: Bimal Jayakodi, Dilhani Ashokamala, Kumara Thirimadura, and especially Ashan Dias in his DIG role. Ashan Dias’s acting skills were somewhat new to me until last year, but the recent movies I’ve watched --‘Walampoori’, ‘Maariya’, and even ‘Rani’, and ‘Ayu’ proved how versatile he is. Watching him in ‘Dharmayuddhaya 2’, I couldn’t help but think how perfectly he would fit a villain role in a superhero movie or even a psychological thriller. I hope someone makes good use of his range.

The filming, dialogues, plot twists, and music were all impressive.

Overall, it was a successful production except for the message I took away from it.

I couldn’t help but wonder whether part of the reason Sri Lankan society embraced this movie so strongly is because it aligns well with familiar patriarchal ideals — the father as the unquestioned hero. This is not to condemn fathers being heroes. It is to question how the women in the story were portrayed.

The mother is shown as someone who worries about security when the male figure is away. Women are portrayed as incapable of protecting their families because they cannot “hold a secret.” They are confined within the walls of the home, lacking the freedom to move independently, while the man has full freedom to go wherever he wants and do whatever he must. Secrets are kept from wives under the assumption that they are not strong enough to handle stress.

All of this was deeply unsettling to me. I would be extremely upset if Harischandra were my spouse and I was treated the way Rani was treated. Rani herself hints at the emotional strain she carries because of it.

This is not just about a movie. This is about being an ordinary woman in Sri Lankan society.

I have experienced how quickly assumptions are made. You are seen as the wife who is overthinking about your husband’s health. You are assumed to be trying to control the family. If you react strongly, you are “too emotional.” You are expected to want protection. You are expected to need provision.

At the gym, they assume you should start with lighter weights — not because they have assessed your limits, but because you are a woman. They assume you need to get home early because of household duties. Maybe sometimes we do. But making assumptions before we speak is unfair.

And this is not only harmful to women. These assumptions are dangerous for men too.

It wasn’t fair that Harischandra had to carry everything alone. That cannot have been easy. Yet society celebrates the man who struggles silently and handles everything by himself. If there is a ‘Dharmayuddhaya 3’, Harischandra will probably carry the burden alone again.

But when does he get to rest? When does he get to ask for help?

Maybe only when we start believing that strength does not mean isolation.