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The man for Malgudi!
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Tamil
should be proud – one of India’s finest
(if not the finest) English writers was born in
Tamil Nadu. Yet, it is somewhat ironic that Tamil
art and cinema seems to have fallen behind in
appreciating and celebrating the timeless work
of R.K. Narayan. Yes, Narayan’s works are
already immortalized in print, they do not need
a great level of advertisement. But, it is disappointing
to think that such a treasure of delectable tales
is being left untranslated into the visual medium.
There have been a few, precisely three efforts
to bring alive Malgudi and its idyllic life on
to screen (big and small). The big screen efforts
include the Hindi Guide (from Guide of course)
and the Kannada Banker Margayya (based on The
Financial Expert, not much known but once pointed
out by an avid Malgudi fan through mail). The
efforts in themselves were not bad, but there
was something lacking; it was perhaps the simplicity
and innocence of Malgudi which were the elements
that attracted readers most towards it. The best
and most impeccable (it almost looks like it never
can be bettered) screen adaptation is of course
the evergreen Malgudi Days, directed by Shankar
Nag which is perhaps one of the best ever features
on Indian television which can still draw an audience.
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With so many stories that instantly connected with
a vast spectrum of readers throughout India, why did
Narayan’s works not find more favor with film
makers, especially Tamil film makers, given the fact
that the nativity and lifestyle painted by Narayan
in all his works was essentially Tamil. It is hard
to fathom and there is only one possible explanation!
Tamil cinema (Indian cinema in general) has always
sought to make movies that look at pressing personal
problems of its potagonists. Mostly about whether
love succeeds or not, whether the hero is able to
overcome the villain, whether the villain is killed
or jailed, whether the society becomes and altogether
better one etc…. In short, Tamil cinema wants
to deal more with periods of turbulence and jeopardy,
alternating with ecstasy and jubilation, of its protagonists.
It seldom chooses to look at the simple everyday life
of people. Yes, simple everyday life is boring, stories
cannot be built unless you throw opposing elements
(hero and villain), create a conflict and declare
a winner. But, that is where Narayan proved his mastery
over narration and language.
He could take the most simplest happenings in the
everyday life of a character in Malgudi and present
them in a way that would leave you in an extremely
pleasant frame of mind. Narayan (mostly) never gave
an adrenaline high, an emotional low or a power packed
moment; instead he filled you with contentment, a
comfort that would almost put you at complacence with
the life you lived. His works were so much entwined
with everyday life as it happened in Malgudi, no fast
forwards, no zooms, no flashbacks etc….. he
never had villains or villainy (perhaps The Maneater
of Malgudi might be taken as an exception by some)
Cinema, in it commercial format, would find it hard
to adapt to this kind of narration. Tamil cinema has
thrived on providing different extremes of emotions
in a balanced manner to its viewers. Keeping things
simple and sweet is one of the most difficult things
to ask of a director!
So, who is it who can tell stories that do not rely
on the highs and lows, but just the plain sailing
of daily life. It is difficult to find out! One always
wondered why Hrishikesh Mukherjee never turned his
eyes on Malgudi. He had that ability to put the small
things in life together and make heart warming tales
on screen. One felt that especially after watching
Baawarchi and the dialogue which so effectively puts
things in perspective, "It is simple to be happy,
but it is difficult to be simple". It is indeed
a great loss that the creative energies of Narayan
and Hrishikesh Mukherjee never met.
Then, who now, especially in Tamil cinema who can
bring alive Malgudi in its idyllic charm, innocence,
laziness and simplicity. The candidates are few. That
is not to say that Tamil cinema lacks quality film
makers, but it is only the rare few who have the gift
of looking at things from the most obvious and simple
perspectives. When Pandirajan made Pasanga, there
was a fleeting thought across the mind whether he
would be the man. But, the way he introduced his characters
and the final scenes in the hospital were the factors
that made one think otherwise. When Suseendran made
Vennila Kabaddi Kuzhu, there was the same thought
again, one only wondered why he strayed from a perfectly
charming and simple story into a tragic ending. Sargunam
too appeared on the horizon with Kalavani, definitely
a strong candidate.
But, the clincher was Azhagarsaamiyin Kuthirai, which
dispelled doubts about Suseendran that had arisen
from the VKK climax and Naan Mahaan Alla. Azhagarsaamiyin
Kuthirai is the perfect template for a director who
could turn into the man who can handle Malgudi. The
movie has no malice or hatred, just a few incidents
and the responses of the characters to it. The innate
goodness of a person who wants to feed a hungry convict
is the kind of thing that made Malgudi immortal and
Suseendran portrayed it without making it look saccharine
coated or improbable. And, what more, Azhagarsaamiyin
Kuthirai is based on a short story.
If Suseendran is willing, one of Tamil’s proudest
literary figures’ works can be brought on to
screen in a manner that is fitting of them. Short
stories, novels, there are scores of Narayan’s
works that await their moment of realization on screen
and a huge number of people who would love to see
it happen. Let’s hope Suseendran sets foot in
Malgudi! Or is there someone better?
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