Screen-Turners: Chap 3.1 - Something about Sujatha (Naaz)
The Screen-Turners – Chapter 3 - Part 1
THERE’S SOMETHING ABOUT SUJATHA…
- Naaz
Goose bumps.
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They are not uncommon when you read a novel by Sujatha. But when you have the man, the epoch, on the other end of the line, you’ve got to be good in math, fast before you think you could die. The goose bumps multiply to the power of a long-distance call between Canada and India. “I am…” you stammer, and the chill of fear is so complete, your skin is a cold, burning page.
Tracking Sujatha and getting him on the phone is a short- story in itself, but I’ll leave that for another time. I sent him my questions on Karaiyellaam Senbagapoo, and before you could say “hello ganesh, hello vasanth,” I had the answers. Made me think: Straight for the jugular.
He said he found the questions to be “interesting,” and got to it.
Swift. Crisp. No Nonsense.
Everything you’d expect from a master of the game.
Here’s Sujatha on Karaiyellaam Senbagapoo.
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Q. A genesis question: Which came first, your interest in Ethnography (Folklore) or the plot/story for the novel, Karaiyellaam Senbagapoo? Could you share the process of writing this particular novel?
A. Neither. Music director, Ilayaraja, once suggested, “why don’t you write a village based thriller?” The idea interested me. I was then reading a book on Tamil folk songs, Thamizhar Naattuppaadalkal, compiled by Prof. Na. Vanamamalai. I took a line from a folk song as the title and spun a story around a researcher coming to a village.
Q. Another genesis question: Is the novel a modern attempt to excavate a lost, pre-lapsarian time? In a metaphoric sense, the novel opens with the arrival of Kalyanaraman(Adam) in Maempatti (Eden). There is his immediate infatuation with Velli (Eve), and soon after, Snekalatha (Snake) is introduced as the “evil” temptress. Given this triangle, could one read the novel as a contemporary (biblical) parable/parody?
A. This is an interesting interpretation. I had never intended it to be a biblical metaphor, though I had read the Bible before.
Q. The first impressions of “folklore” are usually that of innocence, naiveté, and untamed (and uncorrupted) goodness. Kalyanaraaman is taken with the sheer unaffectedness of the people and the songs they sing. Yet, in the story of Pazhaiyanoor Neeli, there is such graphic violence. Is this your way of debunking the urban myth of “good as gold” villagers?
A. If you read the genuine folk songs you are struck by their unaffected simplicity. The Pazhaiyanoor Neeli Kathai is a folk tale of revenge that dates back to pre-Cilappathikaram period. It is elemental in its theme of revenge of a wronged wife, which is also a simple and repetitive folk theme.
Q. The title of the novel, Karaiyellaam Senbagapoo, evokes a vista of colour and abundance. However, the novel pivots on the “deadly sins” of Avarice, Lust, Pride, and Envy…Is the title a trap/conceit?
A. As I said, the title is a line from a folk song. It was given in before the plot of the story evolved, and no trap or conceit was intended then.
Q. In archetypal terms, Velliamma and Snekalatha are, as you mention, “stud(ies) in contrast.” But are they, really? Once the rural/urban veneer is removed, aren’t they both just victims/survivors of a traditional, patriarchal social order? (eg. "¦ÁøÄ ¦ÁøÄ ´Õ Å¢§Ã¡¾õ ¯ÕÅ¡¸¢ì¦¸¡ñÎ þÕ츢ÈÐ. Š§¿¸Ä¾¡Å¢ý ÅÃ× þó¾ àíÌõ ¸¢Ã¡Áò¾¢ý Å¡É¢¨Ä¨Â Á¡üȢ즸¡ñÊÕ츢ÈÐ." "¿øÄ À¡õÒ ÌðÊ §À¡Ä ÅóÐ §º÷ó¾¡." "«ö¡, ±ýÉ ¸¡ôÀ¡òÐÅ£í¸Ç¡?")
A. It is always advisable to have contrasting characters in a complex mystery story. Shades of character are in order in emotional, “social” stories.
Q. The literary work won high critical acclaim, but the film did not sway the masses. Compared to the cinematic success of Gayathri and Priya, Karaiyellaam Senbagapoo was more than a bit of a letdown. Why do you think the audience rejected the screen version of a book they so unanimously loved?
A. I am not happy with the screen versions of Gayathri and Priya also. Screen versions are never satisfactory to the author and discerning readers. Bibuthibhushan Bhattacharya was very unhappy with Satyajit Ray’s Pather Panchali. Hemmingway, when asked about the films based on his novels said, “take the money and run!”
Q. Ilayaraja was born to write the score for a film like Karaiyellaam Senbagapoo. Yet, this was no Annakili. What are your own personal views on the tunes in KS? And were you involved in the selection of music/lyrics?
A. The tunes were ordinary. Ilayaraja had so many assignments and was very busy at that time. I was not at all involved with the lyrics or music for the film.
Q. Dialect and Humour are essential antidotes to the dark proceedings of the novel. Despite a bravura performance by Manorama (Periaaththaa), these features are diffused in the film. Do you think that the literariness of a work such as Karaiyellaam Senbagapoo is anathema to the screen?
A. The director substituted a Coimbatore dialect, whereas I had used a southern Trichy dialect in the book. Dialect was used only for flavour in the novel, and it wasn’t fully authentic either. The director was not capable of thriller narration – that was the problem.
Q. You are by far the most celebrated cine/author of the Tamil screen. How do you view your commercial success?
A. I view commercial success as a result of cooperative effort. The writer has only a 25% role. The director, the editor, music director, cameraman, casting – all contribute to the success.
Q. Do you re-read your own works after a period of time (say five years after publication?)? And when you do, what do you (dis)own in the writing?
A. No. I do re-read with a reader’s viewpoint, as though it is somebody else’s work. Sometimes I am surprised, and sometimes I am disappointed. Put back in their time and compulsions, I am generally happy with them.
- * - *
Part II will analyze the story, movie and the songs.
Author (C) 2006
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Sujatha – Karaiyellaam Senbagapoo
Visa Publications
New No. 16 (Old No.55)
Venkatnarayana Road
T. Nagar
Chennai 600 017
There's something about Vengayam!
vengayam -
Like your monicker is deigned to do, this first response to the interview had my eyes misty. Given the few and far between posts to this TST venture, I was beginning to feel a bit underwhelmed. Your response pulled me back from the brink of depression.
About the goose bumps thing...what surprises you? That thick-skinned, cynical me can actually experience goose bumps? :P Or that Sujatha's writing can induce goose bumps? Or that I had goose bumps when I had Sujatha on the line? With me, you should know by now, context is everything. Care to clarify?
Personally, I must admit that I was a bit spooked by Kolaiyuthir Kaalam (which I never fully read.) I have only read 3 works by Sujatha - KS, Pirivom Sandhippom and Nylon Kayiru (and maybe a maadha novel or two, names of which I don't recall rightaway.) I was hoping others here would enlighten me on the works I have missed (only must-reads please! :) )
I won't steal my own thunder. You'll just have to wait for my take on Karaiyellaam.
