I started writing this blog 3 weeks ago and I had no idea Director K. Balachandar (KB) was unwell. When I shared the outline of the blog with a few friends I had a strange feeling that I may complete this blog only after his death. I'm not a clairvoyant, but I was sure I needed time to watch some more of his movies and do some research to write about this legend and genius. A week after his death so many eulogies have been published in newspapers and magazines; I only read a few of them, but didn't alter my initial outline.
Speaking about outline, where does one start to draw an outline for KB? Should one begin looking at him as a director capable of identifying talents and turning them into stars, a storyteller with a strong social message, a script writer who held a big mirror at the society, and an activist who made women characters emancipate themselves in a society plagued by inequality, social evils and male chauvinism?
Father of a dozen Kannagis
As a script writer KB is very different from Vyasa and Valmiki. Both Vyasa and Valmiki (script writers of Mahabaratha and Ramayana) narrated injustice done to women who had no power to liberate themselves, whereas KB gave birth to a dozen Kannagais who had the power fight social evils, create a new life and also remain a beacon of hope to many others. A bold Krishna in Kayiyath Thalaivi (starring Sowkar Janaki), a pragmatic Anu in Avargal (starring Sujatha), a Brahmin prostitute Lalitha in Arengetram (starring Prameela), a responsible breadwinner Kavitha in Aval oru thodarkathi (starring Sujatha) and Nandini in Manadhil Urudhi Vendum (starring Suhasini); the list goes on.
Holding the mirror
Women issues aside, he portrayed economic evils such as poverty, frugality and unemployment in Varumayin Niram Sivappu and Bama Vijayam; highlighted political issues in Thaneer Thaneer and Acchamillai Acchamillai. With rape taking over the headlines of our newspapers today, he raised alarms about the evil in Noolveli and Manmadha Leelai; bravely showcased other side of love and complex relationships in Aboorva ragangal, Moondru Mudicchu, and Sollathan Ninaikiren; and also the evils of bigamy in Irukodugal and 47 Naatkal.
Message on all formats
When we missed him on the large screen KB made a comeback on the small screen with Rayil Sneham, Kai alavu manasu, Kadhal pagadai, Anni, Jannal, etc. If his movies were made to highlight social evils, including nepotism, bureaucracy, and male chauvinism, his TV serials dealt with human relationships, institution of marriage and family. He also intelligently constructed characters and injected mannerism into them that not only remained as prefixes for actors (Fadafat Jayalakshmi), but also an identity for life: Sindhu Bairavi for Suhasini, Kalyana Agathigal for Y. Vijaya, Angi Saatchi for Saritha, Pudhu Pudhu Arthangal for Geetha, Renuka for Kadhal Pagadai etc.) who remain inspiration to woman.
Spotting and turning talents into stars
KB had a knack of identifying young talents and getting the best out of them and in return offering them a great future. Sadly the film industry only talks about Kamal and Rajinikanth, when it comes to KB, who stand like twin towers in the industry expressing their gratitude on every occasion. How can one forget actors introduced by KB? From Sowcar Janaki, Sri Vidya, Sujatha, Jayasudha, Prameela, KR Vijaya, Saritha, Geetha, Jayapradha, to an army of male actors Nagesh, Chiranjeevi, Vivek, Prakash Raj, Ramesh Aravind, etc. Let us not forget that he also introduced a long list of television actors: Renuka, Venu Aravind, Krishnan, Deepa, Preetha Raghav, Deepika, etc. who've established a place for themselves in the industry.
Made forever
Let us understand that Valmiki and Vyasa are not real scriptwriters of Ramayana and Mahabratha, whereas KB as a original scriptwriter sculpted his characters with precision and building a strong social messaging and may be this is why I feel his movies more relevant than the two epics.
We live in an age where movie making is more of an economic activity than art. Unlike directors of today, who put together scripts for actors or sometimes rope in star cast to make movies sizzle in box office, KB responsibly portrayed issues relevant to women and larger society despite not always winning a jackpot in the box office. We will miss the creative genius, but his epics will live remain forever and continue to inspire women, directors, actors and larger society.
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