When novel idea works in cinema

Chennai: In the 1970s and 1980s, D Jayakanthan, Sivasankari, Anuradha Ramanan did not just comprise starry literary panels, but were household names for the cinema-loving Tamil audience as their writings were frequently adapted for screen. From ‘Sila Nerangalil Sila Manithargal’ to ‘Avan Aval Adhu’ and ‘Oru Veedu Iru Vasal’, it was the innovative plotlines, bold ideas and strong characters that made them stand out.

The works of acclaimed Tamil

writers

captured realism that not only ensured a greater audience for them but also broke stereotypes. An organic fusion of sorts which gave importance to books and business when both authors and directors were glorified. Today, when the larger habit of reading is on the decline and literary greats evincing interest in writing screen plays have dwindled, such adaptations are few and far between. Filmmaker Vetri Maaran’s ‘Asuran’ based on Poomani’s novel ‘Vekkai’ is a contrast. The Dhanush-starrer is the talk of the town for not only raking in the moolah at the box office but also providing respite to the Tamil film industry that has been reeling under back-to-back flops.

Vetri Maaran is not new to adaptations, his acclaimed 2015 film ‘Visaranai’, which was India’s official entry for Oscars in 2017, was also an adaptation of autorickshaw driver Chandrakumar’s autobiographical novel ‘Lock Up’. Presently, few directors come forward to collaborate with authors. Mani Ratnam is working on his dream project ‘Ponniyin Selvan’ based on Kalki Krishnamurthy’s epic novel.

Mysskin, whose ‘Thupparivaalan’ was inspired by Arthur Conan Doyle’s Sherlock Holmes, says adapting

literature

for cinema is no mean task. "When we adapt a book we should make sure we do justice to it," says actor-director, who started his career in a book store in Chennai. Talking about challenges of interpretations, he says, "When I read about mountains, my imagination translates into something different and while it is picturised the effect will differ phenomenally." The ‘Chithiram Pesuthadi’ director applauding Vetri Maaran’s work feels every adaptation comes with its own baggage. "It is important to justify the script otherwise it may not work to our imagination," he says.

Coming from Balu Mahendra’s school of learning, it was probably Vetri Maaran’s habit of reading that puts him in good stead. When writer Poomani gave him ‘Vekkai’ to read, he took few months to study it and once convinced, he began researching from scratch. "The first 40-50 pages of ‘Veekai’ is what made it film-friendly. I realised the subject would be relevant even after 50 years," says Vetri Maaran, who also took note of the writer’s take on the issue but followed his own vision. "Characters, conflict and geography are things that must be considered while making movies from adaptations. Story and script set the mood. Craftsmanship and logic is key to any movie-making," he says.

The chemistry between the writer and filmmaker also plays an important part as they have to agree on the creative licence of each medium. Veteran writer Sivashankari feels times have changed and now directors and authors are not on the same page. She emphasizes that one should remember that when a book is made into a movie, it is a change from one medium to another. "The visual world and the writing world are totally different. As far as amalgamations, one shouldn’t be adamant about tweaks and changes."

Recounting how well she was treated by K Balachander when her novel ‘47 Natkal’ was made into a film in 1981. Discussions, debates and minute changes that were made reached her promptly. "The title card also had my name saying, ‘story and dialogue by Sivasankari’, that was a magnanimous gesture by Balachander," she says. The book and the movie made waves as it dealt with a real-life incident of a woman whose marital life hits rock bottom after she finds out her husband was already married. Contrary to this, the writer’s work ‘Oru Singam Muyalaagirathu’ was changed dramatically by Muktha V Srinivasan for ‘Avan Aval Adhu’. Yet, it was well-received as it dealt with artificial insemination, a new concept for the audience in the 1980s.

Literature, like any other genre, is no guarantee for success, says film historian Vamanan. A P Nagarajan’s screenplay for ‘Paavai Vilakku’ based on Akilan’s novel was a damp squib at the box office though it had actors like Sivaji Ganesan and Sowcar Janaki. "Mahendran’s ‘Uthiri Pookal’ based on a short story ‘Chitrannai’ by Pudhumaiitha was so different that after watching the movie, people thronged book stores curious to read the novel again as there was no connection with the film."

At a time when the Tamil film industry is facing a slump due to lack of quality content, turning to readily available ideas in literature could prove to be a turning point.