| No. | Song | Singer(s) | | :--- | :--- | :--- | | 1 | "Premalookaya Niwee" | K. Jamuna Rani & Mohideen Baig | | 2 | "Sumadhura Wey Supirisidu Wey" | K. Rani | | 3 | "Ayyo Baa Baa Hari" | Sunil Premadasa, K. Rani & Dharmadasa Walpola | | 4 | "Menna Meniko Methana" | Dommie Jayawardena & K. Rani | | 5 | "Wedena Harede Nage" | K. Jamuna Rani | | 6 | "Pem Rella Nage" | K. Rani & Dharmadasa Walpola | | 7 | "Mayawen Mey Loke (Kroodya Dey)" | Mohideen Baig |
Because Sujatha made so much money by translating a Bollywood script and using Indian studios, producers became hesitant to fund original, authentic Sri Lankan stories. For the next decade, Sinhala cinema was flooded with South Indian style melodramas featuring identical camera angles, dramatic pauses, and musical cues. It wasn't until filmmakers like Lester James Peries arrived with Rekava in 1956 that Sinhala cinema began breaking away from this exact formula to establish a unique, indigenous identity. The 1994 Remake: A Modern Re-imagining Sujatha Sinhala Film