Poets and Pancakes by Ashokamitran-A Podcast in Hindi-Summary & Analysis

Ashokamitran is a Tamil author. In this lesson, he recalls his years passed at Gemini Studios in his book ‘My Years with Boss’. Gemini Studios was set up in 1940 and is located in Chennai. Its founder was S.S. Vasan. The duty of Ashokamitran was to cut out newspaper clippings on a wide variety of subjects and store them in files. In the above lines, the author tells us about his job in Gemini Studios which was to make a collection of important news items of the day in a file. Many of them had to be written out by hand. It was thought that the author’s job of news-item collection was not very important, but he was considered to be the most well-informed of all the members of the Gemini Studios.

 Before we go ahead, let me inform you about a few names that are mentioned in the next paragraph:

1.    Greta Garbo:  (A Swedish actress, in 1954 she received an Honorary Oscar for her unforgettable screen performances. The Guinness Book of World Records named her the most beautiful woman who ever lived. She was also voted Best Silent Actress. 

2.    Vyjayantimala: She is an Indian actress whose performance was widely appreciated in Bimal Roy’s Devdas. She won three Best Actress awards for her acting. She is now an active politician.

3.    Rati Agnihotri: Rati Agnihotri is an Indian actress and she has a number of successful Hindi, Tamil, Telugu, and Kannada films to her credit.

4.    Lord Clive: Robert Clive was a British military officer in India from the East India Company.

5.    Pancake was the brand name of the material used for make-up in Gemini Studios. This material was brought in truckloads.  That material must have been used by famous actors and actresses like Greta Garbo and Vyjantimala. Rati Agnihotri might not have heard about it as she came into the film industry later on. It was believed that the building where the material for make–up was kept belonged to Lord Clive and it was meant for his stables.

6.    Lord Clive was the owner of dozens of buildings as residences in the city. He seems to have done a lot of moving in the country and in addition to it he fought many impossible battles in the remote areas of the country. He married a young woman in St. Mary’s Church in Fort St. George in Madras.

7.    The makeup room had the look of a hair-cutting salon ( /ˈsæl.ɒn/   ). It had lights at all angles around half a dozen large mirrors. They were all bright Incandescent (/ˌɪn.kænˈdes.ənt/ (producing bright light by a filament) lights. One can imagine the condition of the actors or the actresses who had to sit under those fiery lights (producing heat).

About the Make-up Department

The makeup department was first headed by a Bengali, who later on left it for better opportunities. Then a Maharashtrian became the head of the studios, assisted by a Dharwar Kannadiga, an Andhra, a Madras Indian Christian, an Anglo-Burmese- Burmese and also by the local Tamils. All this shows that the makeup room was the best example of promoting national integration because the people who worked there belonged to different parts of the country. They believed in different religions and had different cultural backgrounds.  The writer wants to say that the team of the makeup department had an unusual skill of making the person look quite different i.e. ugly by using loads of pancakes (makeup material) and other locally made liquids.

 In those days most of the films were shot indoors. The girls and boys were made to look presentable in the movie by using a lot of makeup material in front of the studio lights even though they looked ugly in that makeup in real life.

A strict hierarchy in the Make-up Room

The writer says that a strict hierarchy was observed in the make-up department. The job of the chief make-up man was to apply make-up on the faces of the chief actors and actresses. The senior assistant applied makeup to the faces of the second-number hero and heroine, the junior comedian did makeup for the main comedian, and others of the same rank.

The responsibility of the ‘office boy’ was to apply make on the people who were playing the role of the crowd. He would mix paint in a giant vessel and slap it with a brush on the faces of the people hurriedly. It was done to hide every pore or patch on the face to make it look presentable according to the set-up norms. The mention of a separate office boy in the make-up room shows the large size of the Gemini Studios.

About the Office Boy

The office boy in the make-up department was not a boy in his teens. Actually he was in his early forties. He had joined the studios in the hope of becoming a star actor or a top screen writer, director or a lyricist. He had also had something of a poet in him.

Ashokamitran says that his duty in the Gemini Studios was to sit in a small room that had French windows on both sides in the walls.  At that time, he did not know that those were called the French windows.

 

The writer would every time pray for crowd shooting. The line ‘Nothing short of (less than) it could save me from his epics (long stories).’ means that only crowd-shooting could save him the boy of the makeup department. It means that the boy would remain busy in his job and the writer would get a respite from his boring stories.

Ashokamitran also explains here how the boy in the makeup department felt frustrated and jealous of Kothamangalam Subbu, who was almost next to his boss by virtue of his extraordinary qualities of impressing others. He would say that Kothamanaglam was directly or indirectly responsible for his woes (troubles), neglect, and public disgrace.

Kothamangalam Subbu

In these lines, Ashokamitran tells us about Kothamangalam Subbu, who was number 2 in position at Gemini Studios. He had a more impressive entry in films than the grown-up boy in the makeup department had. As compared to Kothamangalam Subbu, the office boy had to face more difficulties and uncertainties in his career. In his times, there were no established film-producing companies or studios.

Even in the matter of formal education, the boy had a good lead over Subbu. In the office boy’s opinion, Subbu took advantage of being a Brahmin by caste got closer to well-off people, and got good exposure to situations that made him feel more comfortable.

Ashokamitran says that Subbu had formed a habit of keeping a broad smile on his face even in adverse situations, i.e. even having a hand in a flop film. He was a resourceful person, who had always had work for people who came into his contact and he had ready solutions to difficult problems. Though he could never do things himself he had a tact of getting them by others perfectly. His sense of loyalty made him recognized by his seniors and his creativity was his best asset that made him look perfect to others. He was specially made for films (He was tailor-made for films. )

Subbu was always ready to find solutions to problems. He always felt inspired whenever he got orders from his seniors.

If the director asked him about creating a scene for a situation in which a rat fights with a tigress underwater and kills her. Then the rat takes pity on the cubs and tends them lovingly out of pity. Subbu would come up with four ways for the rat to show affection to the cubs

In case the producer said that he was not sure of the effectiveness of his suggestions, then he would come out with fourteen more alternatives.

Film making was so easy for Subbu that he always felt comfortable while dealing with the situations that all of a sudden arose during shooting. The writer further says that it was Subbu who gave direction and definition to Gemini Studios during its golden years.

Subbu had also a talent for writing poetry. Although he was capable of writing complex and higher types of poetry, it was his deliberate (willing) choice to write poetry that common people could like and understand easily. But his literary achievements were overshadowed by the success he got in films. He wrote truly original ‘stories’ in folk refrain and diction. He wrote a long novel ‘Thillana Mohanambal’ in which there were dozens of skilfully prepared characters.

Kothamangalam Subbu was behind the success of the film Devadasis which was released in the early twentieth century. He had worked to recreate the mood and manner of that film. He was amazingly a great actor, who never aspired for the lead role which he could play as the hero or the main character in the film. Whatever role he got, he played it sincerely and better than the actors who were in lead roles.

Another quality that Subbu had in him was his generosity (large-heartedness). He was a very kind host (someone who has guests) to anyone who came into his contact and needed shelter. That’s why the writer says that his house was a permanent residence for dozens of near and far relations and acquaintances.

Another thing Ashokamitran adds here about Subbu’s nature is that he was never conscious of the fact that he was helping people by providing them shelter and food in his house. It was a selfless service indeed.

Ashokamitran wonders why such a selfless person also had enemies. The writer also wonders if it was because he seemed very close to his boss or it may be because his face and behavior misled people to mistake him for a sycophant or flatterer. It may be that he was quick to produce solutions to the problems. It may be any reason, but there was a man in the makeup department, who always wished dangerous things for Kothamangalam Subbu.

The writer says that Subbu was always found in the company of the boss but his name was in the attendance rolls under the Story Department which included a lawyer and a host (crowd) of writers and poets. The lawyer was officially known as the legal adviser but people referred to him as the opposite.

 

Ashokamitran also explains how the career of a talented young actress ended all of a sudden due to the role of the so-called legal advisor. The actress was highly temperamental (one who gets angry all at once) and talented. Once she burst out in anger on the sets. Everyone present there was stunned while the lawyer recorded her outburst of anger in his recorder. When the young actress paused for breath, he went to her and said, “One minute, please” and played back the recording to her.

Although the young actress had not uttered anything against the producer, that could be termed as a foul or criminal offense against her, yet she was struck dumb due to the shock she got from the recording.

The writer says that she was a simple girl from the countryside (rural area), who did not know the ways of the complicated urban life. She had gained the important position all of a sudden without any struggle that usually makes one worldly wise and experienced before reaching the high position. She never recovered from the terror she felt that day. The legal adviser became the root cause of ruining (destroying) her bright acting career. This is an example as to why the people thought him the opposite of what he was.

 

The writer tells us about the uniform worn by each member of the Story Department. A khadi- dhoti with a white shirt that was slightly oversized and stitched in an odd manner was worn by every member of the department. The legal adviser wore pants and a tie.

लेखक हमें अब स्टोरी डिपार्टमेंट के प्रत्येक सदस्य के द्वारा पहनी जाने वाली वर्दी के बारे में बताते हैं १इस डिपार्टमेंट का प्रत्येक सदस्य खादी की धोती और एक सफेद कमीज जो अटपटे ढग से सिली हुई  और थोड़ी सी साइज में बड़ी होती उसे पहनता था १ लीगल एडवाइज़र   पैंट और एक टाई पहनता था1

Sometimes he wore a coat that was usually worn by the mailmen in those days. He seemed to be a lonely person. He was a man of cold logics and did not have the warmth of emotions in his heart.

कभी कभी वह एक कोट पहनता जैसाकि उन दिनों में अक्सर एक डाकिये द्वारा पहना जाता था १ वह अकेला प्रतीत होता था १ वह केवल ठन्डे तर्कों में विश्वाश करने वाला और स्नेहपूर्ण भावनाओं से रहित व्यक्ति था१

That is why he was an odd person in the crowd of dreamers and the followers of Gandhiji. He was also allowed by the Boss to produce a film. It was a favour given to others also who were close to the Boss. A lot of raw stock and make-up material was used in the process. The film did not prove profitable.

यही कारण था कि स्वप्नों की दुनियां में रहनेवालों और गांधीजी के अनुयाइयों के बीच वह एक विचित्र सा व्यक्ति  था l बॉस के द्वारा उसे एक फिल्म बनाए की अनुमति मिल गयी थी l यह कृपा अन्य लोगों पर भी की जाती थी, जो बॉस के करीब होते थे l फिल्म बनाने की इस प्रकिर्या में ढेर सारा मेक-उप का सामान प्रयोग किया गया परन्तु फिल्म कुछ भी फायदेमंद साबित नहीं हुईl

Now Ashokamitran tells us as to how the legal adviser lost his job. It so happened that one day the Boss closed down the Story Department. The writer says that usually lawyers never lose their jobs because they are never short of work. But in the Story Department the poets were sacked, so the legal adviser also had to leave the job.

एक दिन ऐसा हुआ कि बॉस ने स्टोरी डिपार्टमेंट को बंद कर दिया l  लेखक  हमें बताते हैं कि वकील अक्सर अपनी नौकरी नहीं गंवाते   क्योंकि उनको काम की कमी नहीं होती l परन्तु स्टोरी  डिपार्टमेंट  के कवियों को नौकरी से बर्खास्त यानि निकल दिया गया और इस प्रकार से लीगल एडवाइज़र को अपनी नौकरी छोड़नी पड़ी l

Ashokamitran says that Gemini Studios was the favourite  visiting place for several poets like D.S.Yogiar , Sangu Subramanyam, Krishna Sastry and Harindranath Chattopadhyaya. There was an excellent mess that supplied coffee to the guests throughout the day and until late night.

अशोका मित्रण कहते हैं कि जैमिनी स्टूडियोज कईं पोएट्स जैसे कि D.S.Yogiar , Sangu Subramanyam, Krishna Sastry and Harindranath Chattopadhyaya. के लिए भ्रमण करने का मनचाहा स्थान बन गया था l वहां एक अतिउत्तम  मेस थी जो मेहमानों के लिए सारा दिन तथा देर रात तक कॉफ़ी सप्लाई किया करती थीl

Leaving aside the office boys and a couple of clerks, everyone there at the studios enjoyed leisure time that was a requirement for writing poetry. Most of them were the followers of Gandhiji, so they wore khadi-clothes, but beyond that they had no appreciation for any kind of political thought.

ऑफिस बॉयज और कुछ एक clerks को छोड़ कर स्टूडियोज में प्रत्येक व्यक्ति अपने खाली vaqt  का लुत्फ़ यानि आनंद  उठाता था, जो कवितायेँ लिखने के लिए ज़रूरी होता था l उनमें से अधिकतर गांधीजी के अनुयायी थे, इस लिए वे खादी के बने वस्त्र पहनते थे परन्तु इस से अधिक उन्हें किसी भी प्रकार के राजनैतिक विचारों में कोई दिलचस्पी नहीं थी l

They did not like the term ‘Communism’. According to their views, a communist was a non-believer in God and had no filial (love for children) or conjugal (love for wife) love. He had no guilty feeling for killing his own parents or his children. In their opinion, he is always out to spread unrest among the innocent and ignorant people.

उन्हें कम्युनिज़्म शब्द पसंद नहीं था l उनके विचार में एक कम्युनिस्ट ईश्वर में विश्वाश नहीं करता और उसके  हृदय में बच्चों व् पत्नी के प्रति कोई प्यार नहीं होता l अपने ही बच्चों या माता-पिता की हत्या पर उनका दिल बिलकुल भी नहीं पसीजता अथवा उसके दिल में ज़रा सी भी कसूर की भावना नहीं आती है l उनकी राय में वह तो सदैव मासूम, बेकसूर और अज्ञानी लोगों में अशांति फैलlता रहता हैl

At that time, such ideas were spread everywhere in South India and they had entered naturally but dimly (vaguely) in the minds of the khadi-clad poets of Gemini Studios. The writer says that the evidences of that were coming soon.

उन दिनों ऐसे विचार दक्षिणी भारत में  चारों ओर फैले हुवे थे और स्वाभाविक रूप से परन्तु अस्पष्ट रूप में जैमिनी स्टूडियोज के उन खादी पहनने वाले कवियों के मस्तिष्क में प्रवेश कर चुके थे l लेखक कहते हैं की इस बात के प्रमाण बहुत शीघ्र आगे आने वाले थे  l

Moral Re-Armament (MRA) was an international moral and spiritual movement. It was started in 1938 by an American Priest Frank Buchman. It had about 200 members in the group. Gemini Studios gave them a warm welcome when they visited Madras in 1952. Such a warm welcome was not given to them anywhere in India. It was also called an Intellectual Circus.

Moral Re-Armament (MRA) एक अंतर्राष्ट्रीय नैतिक एवं अध्यातमक आंदोलन था, जो कि 1938     में एक अमेरिअकन पादरी फ्रैंक बुकमान के द्वारा आरम्भ किया गया था l इस ग्रुप में लगभग   200    सदस्य थे l जब उन्होंने   1952   में जैमिनी स्टूडियोज का भ्रमण किया तो उनका भव्य स्वागत किया गया l ऐसा स्वागत उनका समस्त भारत में कहीं पर भी नहीं हुआ था इस समूह को  Intellectual Circus   भी कहा जाता था  l

The message of the plays were usually plain and simple homilies (moral messages), but the sets and costumes were first-rate. Madras and the Tamil drama community were terribly impressed and for some years almost all Tamil plays had a scene of sunrise and sunset in the manner of ‘Jotham Valley’ (a story of two brothers) with a bare stage, a white background curtain and a tune played on the flute.