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Kamsalai, the heroine of Jayakanthan’s novella Cinemavukku Pona Chitthalu, is simply a microcosm of the wider governmental scenery of Tamil Nadu, susceptible to the charisma of movie personalities. She belongs to an epoch erstwhile erstwhile Chief Minister M.G. Ramachandran wielded tremendous power implicit Tamil society.
A diehard instrumentality of ‘Vaathyar’, arsenic Jayakanthan refers to MGR, Kamsalai — whose existent sanction remains chartless — lives connected the margins of Chennai and represents the innumerable admirers of MGR who refused to spot what laic beneath the glitter of filmdom.
The novella unmistakably evokes modern trends successful politics, wherever galore supporters of actor-politician C. Joseph Vijay support their stance saying, “We are fatigued by the binary authorities and are voting for a change.”
Jayakanthan was criticised for penning the novella, and immoderate sought to capitalise connected his enactment to settee scores with MGR. “I person openly expressed my views connected the narration betwixt our nine and actors. That I bash not beryllium to groups that enactment them is precisely what I question to convey — that I negate them,” wrote Jayakanthan erstwhile the novella, serialised successful the magazine Kannadasan, was aboriginal published arsenic a book.
Kamsalai, a colony miss who moves to Chennai aft her matrimony to Chellamuthu, becomes MGR’s ardent admirer, aided by the accidental to ticker each his films. In a sense, her hubby is liable for this transformation. Yet, she reaches a constituent wherever she imagines her matinee idol adjacent during moments of intimacy with her husband.
“Ignorant and credulous radical suffer their self-respect due to the fact that of them. Films, actors, directors, and producers play a large relation successful destroying the mind, taste, and morals of the people. In fact, they themselves cannot beryllium held wholly responsible, for they too, person fallen prey to it,” Jayakanthan wrote successful the preface.
Written successful Chennai slang, it delves heavy into the minds of its characters, mostly MGR’s admirers. The narration betwixt Kamsalai and Chellamuthu becomes strained, and yet irreparable, aft helium realises the extent of her obsession. One day, she moves adjacent to him aft seeing MGR’s representation printed connected his vest, but turns acold erstwhile helium draws her towards him. A disappointed Chellamuthu tears isolated the vest and rips down a calendar bearing MGR’s representation from the partition of their hut. Yet, guilt soon overwhelms him — for helium too, is simply a devotee of MGR.
“Vathyare!.. Vathyare! Forgive me, Vathyare. I americium lone human, americium I not? That is wherefore I acted successful anger. What tin you do, Vathyare? It is not conscionable Kamsalai, mediocre fool — determination are galore specified fools successful this metropolis due to the fact that of you. What tin you do?” laments Chellamuthu.
From that moment, helium resolves not to nonstop her retired to work, fearing it would springiness her the means to ticker MGR’s films. She agrees, and a quiescent region begins to turn betwixt them.
She reconciles herself to the relation of a homemaker, spending clip indoors. Her passionateness is rekindled erstwhile she notices the posters of a caller movie — Kodiyil Oruvan (in reality Ayirathil Oruvan) — and different rickshaw puller, Singaram, who rents his conveyance to Chellamuthu, persuades her to ticker the movie with him. “When a histrion is astir to autumn connected the heroine, Vaathyar rushes to her from nowhere, and seeks to forestall it by taking the stroke connected his back. The dependable of whistles successful appreciation fills the theatre. Kamsalai covers her look with hands and watches the country done the spread betwixt her fingers. It is past that Singaram kisses her.” She then spends a nighttime with him. Overwhelmed by guilt, she decides not to instrumentality to Chellamuthu. No magnitude of persuasion by Chellamuthu makes her alteration her mind.
Manonmani, the pistillate who runs the brothel, with the assistance of movie stuntmen, takes her to ticker the shooting of a movie starring Vaathyar. Normally, others are not allowed to ticker the shooting due to the fact that his wig would travel disconnected during combat scenes. However, Kamsalai and the different women summation access. During the shoot, a heated statement between Vaathyar and the villain results successful a fight, and Vaathyar is stabbed. This incidental is based connected the real-life occurrence successful which MGR was changeable by M.R. Radha. Kamsalai runs to the infirmary where Vaathyar is admitted and stays done the night. She loses her caput erstwhile idiosyncratic tells her that Vaathyar died.
Chellamuthu aboriginal spots her adjacent the Kannagi statue, covering her assemblage with cinema posters. She sings and dances arsenic a assemblage watches her. She runs distant connected seeing him. He aboriginal finds her connected Pycrofts Road, leaning against a poster of Vaathyar and crying. He tells her that Vaathyar is alive. “You are lying,” she says. “Ask them,” helium replies, pointing to a man. “He survived,” the antheral says. She agrees to spell with him connected the rickshaw. As they walk the Kannagi statue, helium laughs. “Is it not my statue?” she asks. “Yes, yes,” nods Chellamuthu. “Ore Muraithaan Unnodu,” she begins to sing. “You besides sing.” Chellamuthu joins her. Tears rotation down his eyes, but she does not notice. She is looking astatine the posters — ones she had already seen.
