I see the beginning of Sujatha as a scriptwriter in Dream Factory, his mind was already ticking, as he wrote the story in a slightly filmy style with a sense of drama, visualisation and conversation,” he asserts.
Therefore, s ome of the conversations in the book seem like scenes from a screenplay. Sujatha seems to be taking “baby steps” towards writing screenplays when he wrote Kanavu Thozhirsalai, says Narayanan. They have elements of visual delight, social comment and literary observations on human conditions alongside engaging plots,” he says.Īlso read: Ex-Outlook Editor narrates tale of sacking in book ominous for India’s media “Kanavu Thozhirsalai is an ideal way of getting a segue into the author’s works because they straddle the literary and popular very well. But, along with his publishers and agent, Narayanan decided on Kanavu Thozhirsalai, which he now believes was the right choice.
Sujatha’s sci-fi novels would imaginatively craft a Chennai post-2020, where air-taxis and gigolos reign.Īccording to Narayanan, whose first choice would have been to translate Sujatha’s Srirangaththu Devadhaigal (‘Goddesses of Srirangan’), on his childhood experiences in Srirangam. A pioneer of science fiction in Tamil, he was also a famous scriptwriter having worked on movies like Boys, Thiruda Thiruda, Roja etc. Sujatha maybe known nationally for creating the Electronic Voting Machine during his tenure at Bharat Electronics Ltd, but he enjoys a cult figure status in Tamil Nadu as a novelist. To Narayanan, this translation is a way of telling the world about his favourite writer Sujatha, who is not that well known beyond Tamil Nadu. It is no fairy tale, but a realistic novel exposing the underbelly of a patriarchal film industry,” he says in an interview with The Federal. It has three female characters and their exploitation in a man’s world. It also gives insights into a disorganised film industry functioning in an ad hoc manner. It is a rare combination of literary work and pulp fiction.
“Kanavu Thozhirsalai, besides being one of Sujatha’s best, has literary merit, a racy plot, a poignancy that I really liked. “There is a certain poignancy in the book which attracted me,” admits Madhavan Narayanan, the translator, on why he chose to translate this particular work. In Dream Factory, Sujatha also gives a no-holds barred peek into the dark side of the industry through his characters whose choices lead them into ugly and uncomfortable spaces. Peek into dark side of Tamil film industry This piquant incident makes its way into the book Dream Factory, with Sujata using it to show how the film hero gets angry with this invasion of his privacy. They even slid a hand into the car to caress his cheeks and pinch it hard.
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And, Sujata narrates how while travelling along with a film hero in his car, he saw fans crowding around the vehicle pressing their faces against the windows asking the hero to sing a song. In that interview, Sujatha, whose real name was S Rangarajan (1935-2008), admits he got to interact “a lot” with the film world which obviously gave him copious material to pen this work. Conducted after the first chapter appeared in a serialised form in Ananda Viketan magazine in 1979, they grill the author about Kanavu Thozhirsalai. Published by HarperCollins, this racy, pulp fiction read is interestingly prefaced by an interview of Sujata by veteran actress Lakshmi and director Mahendran. This book has now been translated into English as Dream Factory by a Delhi-based senior journalist Madhavan Narayanan. It revolves around the lives of 24-year-old Arun Vijay, an impetuous, self-obsessed matinee idol a poor waiter and his singular obsession to become a music composer Premlatha, an actress who feels time is running out for her on the big screen and Manonmani, a hapless struggling actress trying to get a foothold in the chaotic, patriarchal Tamil film industry. Kanavu Thozhirsalai, a novel by Sujatha, the late popular and prolific Tamil writer, is set in the colourful Tamil film industry of the 1980s. Pic: The late writer Sujata (extreme left)
Translation is like a trapeze act without a safety net below, says Madhavan Narayanan (extreme right), the translator of famous Tamil writer Sujata's work Kanavu Thozhirsalai (Dream Factory).
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