The blurred line between reality and illusion: the influence of film personalities on the masses

Kamsalai, the heroine of Jayakanthan’s novella Cinemavukku Pona Chitthalu, is a microcosm of the wider political landscape of Tamil Nadu, susceptible to the charisma of film personalities. She belongs to an era when former Chief Minister M.G. Ramachandran wielded enormous influence over Tamil society.

A diehard fan of ‘Vaathyar’, as Jayakanthan refers to MGR, Kamsalai — whose real name remains unknown — lives on the margins of Chennai and represents the innumerable admirers of MGR who refused to see what lay beneath the glitter of filmdom.

The novella unmistakably evokes contemporary trends in politics, where many supporters of actor-politician C. Joseph Vijay defend their stance saying, “We are fatigued by the binary politics and are voting for a change.”

Jayakanthan was criticised for writing the novella, and some sought to capitalise on his work to settle scores with MGR. “I have openly expressed my views on the relationship between our society and actors. That I do not belong to groups that support them is precisely what I seek to convey — that I negate them,” wrote Jayakanthan when the novella, serialised in the magazine Kannadasan, was later published as a book.

Kamsalai, a village girl who moves to Chennai after her marriage to Chellamuthu, becomes MGR’s ardent admirer, aided by the opportunity to watch all his films. In a sense, her husband is responsible for this transformation. Yet, she reaches a point where she imagines her matinee idol even during moments of intimacy with her husband.

“Ignorant and credulous people lose their self-respect because of them. Films, actors, directors, and producers play a major role in destroying the mind, taste, and morals of the people. In fact, they themselves cannot be held entirely responsible, for they too, have fallen prey to it,” Jayakanthan wrote in the preface.

Written in Chennai slang, it delves deep into the minds of its characters, mostly MGR’s admirers. The relationship between Kamsalai and Chellamuthu becomes strained, and eventually irreparable, after he realises the depth of her obsession. One day, she moves close to him after seeing MGR’s portrait printed on his vest, but turns cold when he draws her towards him. A disappointed Chellamuthu tears apart the vest and rips down a calendar bearing MGR’s image from the wall of their hut. Yet, guilt soon overwhelms him — for he too, is a devotee of MGR.

“Vathyare!.. Vathyare! Forgive me, Vathyare. I am only human, am I not? That is why I acted in anger. What can you do, Vathyare? It is not just Kamsalai, poor fool — there are many such fools in this city because of you. What can you do?” laments Chellamuthu.

From that moment, he resolves not to send her out to work, fearing it would give her the means to watch MGR’s films. She agrees, and a quiet distance begins to grow between them.

She reconciles herself to the role of a homemaker, spending time indoors. Her passion is rekindled when she notices the posters of a new film — Kodiyil Oruvan (in reality Ayirathil Oruvan) — and another rickshaw puller, Singaram, who rents his vehicle to Chellamuthu, persuades her to watch the film with him. “When a tree is about to fall on the heroine, Vaathyar rushes to her from nowhere, and seeks to prevent it by taking the blow on his back. The sound of whistles in appreciation fills the theatre. Kamsalai covers her face with hands and watches the scene through the gap between her fingers. It is then that Singaram kisses her.” She then spends a night with him. Overwhelmed by guilt, she decides not to return to Chellamuthu. No amount of persuasion by Chellamuthu makes her change her mind.

Manonmani, the woman who runs the brothel, with the help of film stuntmen, takes her to watch the shooting of a film starring Vaathyar. Normally, others are not allowed to watch the shooting because his wig would come off during fight scenes. However, Kamsalai and the other women gain access. During the shoot, a heated argument between Vaathyar and the villain results in a fight, and Vaathyar is stabbed. This incident is based on the real-life episode in which MGR was shot by M.R. Radha. Kamsalai runs to the hospital where Vaathyar is admitted and stays through the night. She loses her mind when someone tells her that Vaathyar died.

Chellamuthu later spots her near the Kannagi statue, covering her body with cinema posters. She sings and dances as a crowd watches her. She runs away on seeing him. He later finds her on Pycrofts Road, leaning against a poster of Vaathyar and crying. He tells her that Vaathyar is alive. “You are lying,” she says. “Ask them,” he replies, pointing to a man. “He survived,” the man says. She agrees to go with him on the rickshaw. As they pass the Kannagi statue, he laughs. “Is it not my statue?” she asks. “Yes, yes,” nods Chellamuthu. “Ore Muraithaan Unnodu,” she begins to sing. “You also sing.” Chellamuthu joins her. Tears roll down his eyes, but she does not notice. She is looking at the posters — ones she had already seen.