‘Avargal’ is a good place to begin analysing K Balachander’s unique, complicated and quite amazing love for his female characters.
As reductive as it sounds, is there one film that sums up K Balachander? It isn’t easy – not when there are so many to choose from, but maybe we can settle on Avargal, which examines the life of Anu (Sujatha) as she deals with the affections of three men. One of these men is Ramanathan, played by Rajinikanth. Villains have existed since the beginning of cinema, but here was someone who enjoyed doing to people what a kid with a magnifying glass would do to an ant on a sunny day. Except, he wasn’t obvious. He wasn’t a Nambiar wielding a whip. He didn’t let you see that he was holding the magnifying glass, and he didn’t let you know that he regarded you as an ant. You ended up fried all the same. Anu certainly did. At the end of the film, she called Ramanathan a sadist. It was a new word in Tamil cinema – not because of the Englishness of the word, though that brought in its element of newness too, but because emotional sadism, the kind Ramanathan specialised in, was new.
In a way, KB was like Ramanathan. I am not going as far as suggesting he was a sadist, but he loved to put women under a magnifying glass – to study them, yes, but also to watch them squirm under heated circumstances. He made them shoulder monstrous burdens and made them bear those burdens willingly, and then, as if as a reward, he led them, again and again, to the brink of what looked like a happy ending, only to kick them over the ledge into an abyss. Take Arangetram, for instance, the story of a Brahmin woman who becomes a prostitute to provide for her large, impoverished family. (The largeness of this family is illustrated through a simple dinner-time shot, where the father is seated on the floor, as if at the head of the table, and his children sit in two apparently endless rows on either side – there’s a separate essay waiting to be written about the mise-en-scène in KB’s cinema.) At the end, when her family finds out and throws her out on the street, she is rescued by a good-hearted acquaintance whose son is willing to marry her. But she loses her mind. Happily ever after – so near, yet so far.
But in many other ways, KB was like Janardhanan, the character Kamal Haasan played in Avargal. He adored women, respected them, took care of them, nourished them, groomed them, cheered for them when they turned independent, and, yes, loved them. To see his work is to see a filmmaker who worshipped women, who essentially demolished the myth that a film needed a hero to be a hit, and who did not mind that his female characters often came off stronger than the males. Look at the insufferably male-dominated (hero-dominated, really) Tamil cinema today, and look back at KB’s cinema. In Moondru Mudichu and Manmadha Leelai, the hero is taught a lesson at the end. In Sollathan Ninaikkiren, the hero is pursued by three women, and yet, by the end, they marry others – he ends up all alone. In Achamillai Achamillai, the hero winds up at the sharp end of a knife held by the heroine, his wife. Few directors, before or after, have endowed their women characters with so much agency.
This blend of Ramanathan and Janardhanan – or Rajinikanth and Kamal Haasan, if you will; they are, after all, his two most famous protégés – is the thing that makes KB’s work endlessly fascinating to analyse. His films, today, don’t look like just films. They come off like autobiographies. And his women characters – not just the heroines, but also the supporting characters like Chandra, played by ‘Fatafat’ Jayalakshmi in Aval Oru Thodarkadhai – come off like the fantasies of a man who was brought up in rather conservative times but yearned to liberate his women, and ended up swinging wildly between these extremes. Chandra, for instance, is all happy-go-lucky and who-gives-a-fish in the film’s early portions, but by the end, she falls gratefully at the feet of the man who says he will marry her. Looking at the film today, some may sneer that the bohemian has been tamed by tradition, but the right way to look at the film is through the eyes of the audiences of 1974, the year it was released, when even the existence of such a bohemian was a miracle.
There is another man in Avargal, Bharani (Ravi Kumar). He loves Anu too. He was Anu’s boyfriend earlier, before she married Ramanathan. And he becomes her boyfriend again after she divorces Ramanathan, even as a love-struck Janardhanan looks on hopefully from the sidelines. The culmination of these loves plays out during the exquisite MS Viswanathan number Angum ingum, where Anu falls ill and is tended to by all three men. One of them measures out medicine. Another squeezes juice from oranges. The third cooks and takes care of her child. Anu will end up in the abyss, but at this moment, there seems to be no luckier woman than the K Balachander heroine.
An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
KayKay
December 24, 2014
As you said, it’s the women. In KB’s movies they were so…..layered. Strong, intimidating and resilient. I loved Avargal (take her out of weepy melodramas, and the late Sujatha was a terrific actress and powerhouse of a screen presence, flinty resolve in a demure package) but my fav Balachander movie is Nool Veli. A masterful examination of the fissures in a marriage caused by the husband’s infidelity…with a girl they’d practically adopted!
There’s a scene where after discovering them in bed together, at night lying next to her husband (Sarath Babu), the wife (Sujatha in another amazing performance) tells him that what’s happened has happened and they should move on. He reaches out and touches her hand. She recoils in disgust. When asked why after she had just told him they should move on, she replies that she thought she could play the “understanding, forgiving wife” but she realizes she can’t.
That scene for me, marks the demarcation between KB’s potrayal of women and that of most other directors in Tamil. The conflict between needing to forgive and the explosive anger at the betrayal of her trust and their marital vows; sketched economically and powerfully in a single scene. When KB was firing on all cylinders, his contemporaries could only dream of matching him.
RIP, sir.
LikeLiked by 2 people
Anantha Narayanan
December 24, 2014
BR: A lovely and evocative piece.
Today I was determined to see a KB film. I have a number of the master’s films and I had problems selecting which film to see. Do I see “Aval Oru Thodarkathai” for those wonderful last 10 minutes, “Avargal” for many of the reasons mentioned by you, “Sindhu Bhairavi” for the songs and Suhasini, “Jaathi Malli” for the wonderful songs and the lovely characterization of the two couples, “Unnaal Mudiyum Thambi”, which I consider one of KB’s best films, “Kalki” for the boldness, “Kalyana Agathigal” for the gripping portrayals of women et al.
Finally I selected “Kavia Thalaivi”. For no reason other than that I had not seen the film in over 10 years. Sentimental no doubt and I was unashamedly crying at the end. But the strong Bengali story-line helped. A tour-de-force performance by Sowcar Janaki and an excellent rendering by Gemini Ganesan made the film. The typical KB touch when he uses the polished glass table to show a reflection of Ravichandran to Sowcar. The knife-edge walk, done beautifully, on the lovely relationship between Gemini and Sowcar. The beautiful rendering of “Oru Naal Iravu” song. All in all, a satisfactory selection and I know KB would approve it.
For those of us who are in the later third of our lives, KB was what we measured all directors by. He was a director’s director. Barring the last two and a few other films made earlier, his films are worthy of being seen today. Dated, maybe, melodramatic, perhaps, but lovely films they were.
There will not be a KB again. I wish you had done a “Conversations” book with KB. The “Dispatches” piece is too short.
Ananth
LikeLiked by 2 people
venkatesh
December 24, 2014
RIP sir.
LikeLike
Aparna
December 24, 2014
Just the MOST beautiful and well-written tribute, *ever*. Thanks for this one, Baradwaj.
LikeLike
oneWithTheH
December 25, 2014
Lovely piece!
KB’s best was in the 70s and 80s. His movies were always intriguing to watch despite laden with some intense melodrama, the main reason being his dialogues and quirky characterizations. He always created interesting characters in addition to the leads – kamal’s secretary in manmadha leelai for example.
Avargal is a standout movie. My mother makes this comment “..adhula rajni panra kodumaya patha avana nerla poi arayanum nu thonum…”. And thanks for mentioning Angum Ingum. A lovely song in a terrific time during the movie.
For me when I think of KB the movies that flash in my mind are Varumayin Niram Sivappu, Azhagan, Unnal Muidyum Thambi, Avargal, Manmadha Leelai, Thillu Mullu.
In Varumayin…,the angst ridden protagonist in Kamal was such a treat to watch. I enjoyed everytime Kamal’s character went ballistic on the people he meets around him. KB was a master at getting those reaction shots from his actors – an embarrassed Sridevi realizing Kamal knew tamil when the two first meet for the first time.
KB’s influence in television deserves a mention too. Balachander-in Chinna Thirai, Marma Desam, etc which again were much ahead of their times.
LikeLike
Ram Murali
December 25, 2014
I will highlight one usually less mentioned KB film – Thappu ThaalangaL. I found that to be a fascinating character study…just the fact that he took two characters with very questionable values and made us see the humanity in both of them and actually root for them was really fascinating…I also think that certain actresses like Saritha and Sujatha were better in his direction than say a Suhasini or Geetha. I think Saritha could really dissolve into the exquisite characters that KB had created for her more than any other actress could…I mean, Agni Saatchi featured one of KB’s most memorable female characters…the lines that he wrote…man, that was quite something else…
Two other elements of his films that I enjoyed a lot (at least in the pre -Duet days) were the short but sharp scenes that he would use to establish characters as well as how appropriate his song placements were…both “Adhisaya Raagam” and “Kana Kaanum Kangal Mella” top the list…
RIP, K Balachander…as you make your trip to heaven, we thank you for all the stars…
LikeLike
Kainattu
December 25, 2014
There is a movie in which saritha plays charactcer roles in the film industry. The movie is about how the film industry treats these junior actors. It aired on DD lonnnng time back. I enjoyed the movie very much and the direction (by KB ?) was superb..Anyone know the name of this movie ?
LikeLike
Ramachandran Venkataraman
December 25, 2014
No doubt a trend setter. But this is not the time to write a critical review of KB. after a year or two Bhardwaj Rangan should write a critical review of Ouvre of KB
LikeLike
Vasisht Das
December 25, 2014
(sorry, ramachandran venkataraman : why is this not a time to write a critical point about KB’s tales, if one is fair enough to acknowledge that he was indeed an original, provocative and always interesting teller? it’s not a personal criticism.)
as dr.rangan puts it cautiously, “In a way, KB was like Ramanathan. I am not going as far as suggesting he was a sadist, but he loved to put women under a magnifying glass – to study them, yes, but also to watch them squirm under heated circumstances….
This blend of Ramanathan and Janardhanan – or Rajinikanth and Kamal Haasan, if you will; they are, after all, his two most famous protégés – is the thing that makes KB’s work endlessly fascinating to analyse.”
there’s no two ways about this: KB was as much a mysogynist as a feminist with all its layers of contradictions. he wrote extremely petty-middleclass, judgemental declarations about women through the sado-masochistic plotting of so many melodramas that he wrung them through. and then – “he led them, again and again, to the brink of what looked like a happy ending, only to kick them over the ledge into an abyss”(dr.rangan).
many of the secret-admirer male characters came across as caricaturish ‘paavam’ cases. and whenever the men got the so-called comeuppance, often at the climax of those movies, it came across as guilt-induced tokenism like the laughable tradition of the arrival of the police!
LikeLiked by 1 person
Ramachandran Venkataraman
December 25, 2014
“dr.rangan puts it cautiously,”
cautiously is operative word. anyhow I have no quarrel with your observations. thanks
LikeLike
nomad
December 25, 2014
Before KB there were only two kinds of women in tamil cinema , the self sacrificing , gold hearted kudumba kuthuvilakku and the villainous club dancer . This pretty much summed up how women were perceived in our society in black and white . The good woman . Bad woman. KB’s women were for the lack of better word unconventional . The sharp toungued lead character in aval oru thidarkathai or the woman who carries three pots of water everyday in thanneer thanneer. He dissected the society through the eyes of his women characters.
LikeLiked by 2 people
ThouShaltNot
December 25, 2014
KB, the legend, may be no more, but many of his characters will continue to fascinate and even baffle us…
Avargal lingers in my mind more than the other heroine-centric movies of KB. Here, Anu shows uncommon grit and determination in standing up to a sleazeball husband. I doubt Tamil cinema had a tormentor more morbidly deviant than Ramanathan. There was nothing redeeming about that character (Anu, Anu Anu vaa chittravadhai seiyya pattaal). And then there was Ramanathan’s mom, whose character does all the redeeming in the movie (some of it also by Janardhanan). A masterfully earnest portrayal by Leelavathi as Anu’s compassionate mother-in-law, which was also a stereotype buster. In the end, Anu while momentarily rattled, is still left with grit, determination and Ramanathan’s mom.
As for the criticism that after all the heavy-lifting they do, why does KB snuff out hope in some of his women characters, I tell myself : Reality can be stark and does not seek consensus (a cop out, but what do you do?)
LikeLiked by 1 person
Rahini David
December 26, 2014
I guess I have seen only a few of his movies but they are enough to convince that he was a wonderful director. A few of things that I have often noticed in his movies and only in his movies.
1) He took the high-brow stuff to the middle-brow audience. In “Unnal mudiyum Thambi”, Gemini accuses Kamal of using “Asutha Kalyani” or some such thing for singing to the labourers. But KB did that repeatedly did that too. He introduced Carnatic Music and made it look less intimidating to the rest of us. Surely the songs that are shown in the sabhas (in Aboorva Raagangal, Sindhu Bairavi or Unnal mudiyum Thambi”) were made easier for an average cine-goer to enjoy, but he also did it without pissing off the real Carnatic people. Rajini’s question to Thengai Srinivasan and the “Enna Samayalo” number also bring out a fun version of this much intimidating art form.
2) The same could be said of the apt use of Bharathiyaar Kavithaigal in his many movies. There is something intimidating about reading poetry, but the use in KB’s movies does a marked service to the audience.
3) KB’s older movies were more about lower middle class and in the 80s and 90s he started to depict the upper middle class too. I think this started around the time he himself had more money than he used to. He neither treated the richer people with contempt in his older movies, nor treated the poorer people as non-entities in his later movies. Like Actress Bama of Bama Vijayam being friendly around the common people next door and the old man who plants plenty of trees in U-M-Thambi. The relationship the domestic help has around their masters is always shown and their personality is always touched upon lightly. For some reason, this is a rare thing in the works of other directors.
4) As an extension of point 3, Sowcar Janaki’s character Meenakshi Doraiswami(MD) is depicted as a socialite. As she herself later says “Enga Party nnu alaiva”. Her quirks like taking a photographer to capture her moments with celebrites are touched upon affectionately but never looked down upon. She is such a loveable personality and surely the only lovable socialite I ever saw in Tamil Cinema. Also, there is a scene where she goes and visits Uma to gift her a saree. Apart from showing that their relationship has gone beyond acting before Thengai Srinivasan and is truly affectionate, it also makes the movie pass the “bechdel test”. Both of them are named characters who talk to each other about something other than a man.
5) He also had the habit of never showing certain characters on screen at all. From Irumal Thatha to Malgova Maami’s husband. Such impact these characters have on the story.
6) When he made a mistake, he was willing to acknowledge it. He had the lovers commit sucide in “Ek Duuje Ke Liye’ but started the story of a failed suicide attempt in Punnagai Mannan and argued against suicide as best as he could. Later he made Vaanamea Ellai to analyse the topic more deeply. It was a preachy movie. Still.
LikeLiked by 3 people
ram murali
December 26, 2014
Rahini David, superb comment..you mentioned one of my favorite Kb moments, “Suddha dhanyaasi aa adhu. Asudhdha dhanyaasi!”
LikeLiked by 1 person
Filistine
December 28, 2014
@Rahini – The Bechdel Test, of course. If there was one director who broke the test more often than not, it had to be KB
LikeLiked by 1 person
Pradeep
December 29, 2014
The best of K Balachander’s movies are available online in HD @ https://www.herotalkies.com/movies/directors/1
LikeLike
Sadhana
December 29, 2014
Beautiful post as usual Rangan! Rahini, loved your comment:Another instance of domestic help whose character stays with you is the driver Krishnan’s character in Sindhu Bhairavi who constantly argues with his boss but ‘raga sancharippu’..classic! 😀
LikeLiked by 1 person
sachita
December 30, 2014
you somehow didnt cover his 80s movies – which we are all even more familiar with and left out discussing the quintessential Balachander trademark( not a fan but he was well known for that, isnt it?)
My mom would often describe KB as a director who hasnt left any permutation and combinations in relationship( may be due to aboorva ragangal).
LikeLike
brangan
February 16, 2017
Good heavens. This film turns 40 this Feb!!!
LikeLike
Filistine
February 17, 2017
Turning 40, and still miles ahead in terms of the portrayal of women on screen. Look at the issues the movie covered – divorce, single parenthood, women with ambition. Not to mention the film-making itself – the Kaatrukkenna veli song, the table tennis game between Rajnikant and the other protagonist, the flash-back narration during the train journey, a cricket pastiche. And Kamal Haasan in a role that no mainstream hero would dare to do, then or now. Probably the most complete KB film. I wonder if there will be any kind of KB retrospective in film festivals outside South India.
LikeLiked by 1 person
ThouShaltNot
February 18, 2017
In KB movies, there is usually one song which provides the synopsis. That song in Avargal is “ipppadi oar thaalaattu paadavaa…” The line that distills the essence of the movie is this one : “kai pidiththa naayaganum kaaviyathu naayaganum eppadiyO verupattaar, en madiyil nee vizhundhaai”. Using mythological allusions, other aspects of this story are brought out as well. This is a good song, as are the other songs in the movie. The song that left the greatest impression though is not this one, but the one involving the lovable loser. No, not Kamal, who cuts a sympathetic figure, but his alter-ego, the irrepressible “Junior”. The “Junior” song is a brilliant idea to recover from a mind-numbing blow to the heart (watch Kamal’s glum face and raised eyebrows as his mind recoils at Sujatha’s “… avanga sambandha pattavanga, neenga moonaavadhu manushan…”). Junior, a ventriloquist’s prop, allows Kamal to create distance with his true feelings (ah, just a show). Junior’s no-holds-barred attempt at flirting with Sujatha and proposing to her is in stark contrast to Kamal’s inhibited self, who is “Prudence Personified”.
With a mind full of mischief, Junior has some memorable lines in this song, such as
“chinna payyan vayasum konjam, bommaikkenna manasaa panjam, otti paarthaal ondraai saeraadhO?”
(Most of the time, Sujatha projects gravitas in her films. When Junior mutters the above line, you see her facade collapsing. She cracks up. In fact, she cracks up repeatedly in this song. And there is quite a cascade at the very end)
“Boss, love has no seasons or even reasons!” in response to the line about seasonally impertinent endeavors. “Shut up!” is Kamal’s response to that.
“if it is aboorva raagam?!” in response to Kamal’s “aduthavar raagam adhai nee paadudhal paavamadaa…”
“paavapatta janmam ondru oomaikelvi kaetkuum bodhu aasai mOsam seyya koodaadhu!”
Sujatha, while verbally passive, is superb with her facial reactions through the song. Her reaction as she mumbles “achchachO!” when Junior bites Kamal’s fingers is priceless.
This is not just about the actors, or the lyricist’s lines. It is also about KB’s touch, MSV’s brilliance, Sadan’s talent, and SPB’s skills, all of which work to produce a rare masterpiece among songs. For me, this one belongs with other great songs like “malarndhum malaraadha paadhi malar pOla …”
LikeLiked by 2 people
Filistine
May 20, 2017
A lovely analysis of the “framing of doors” in Varumaiyin niram sivappu
LikeLike
hari prasad
December 24, 2022
BR or whoever here that watched Avargal multiple times , please answer to this….
I rewatched it today and still can’t get this..
Did the cricket scene actually had any purpose other than to make all the characters be there at the same place?
Did that scene had any metaphors , hidden details or something that I didn’t notice?
LikeLike