Poets and Pancakes

 

Poets and Pancakes — Summary (Detailed, with Textual References)

1. About the Author and Context
   The chapter is written by Asokamitran, a Tamil writer, who humorously recounts his years at Gemini Studios, founded by S. S. Vasan in Madras. His role was to “collect newspaper cuttings and file them”, a seemingly monotonous task that, nevertheless, gave him a keen observer’s view of studio life.
2. Tone and Purpose
   The tone throughout is light-hearted and self-mocking, filled with irony. Asokamitran portrays the glamour and absurdities of the film world, offering insight into the lives of creative yet often directionless people working behind the scenes. There is “no trace of ill-will” in his narration.
3. The Make-up Department
   The essay opens with a vivid description of the Make-up Department, where “truckloads of make-up material” were used. The brand “Pancake”, from which the title derives, was used to transform actors into hideous or comic figures, often making “decent-looking persons into hideous monsters.”
4. Hierarchy in Make-up
   The make-up department followed a strict hierarchy — senior artists handled chief actors, junior artists worked on lesser roles, and the office boy dealt with extras. This reflects the rigid class system even within creative professions.
5. The Office Boy’s Frustration
   The so-called office boy, around forty years old, was a failed creative aspirant who “joined the studios hoping to become a star or writer” but ended up slapping make-up onto crowds. His bitterness symbolizes the crushed dreams common in the film industry.
6. Kothamangalam Subbu — The No. 2 at Gemini Studios
   Subbu, described as “a many-sided genius”, was second only to the Boss. He was an actor, writer, and problem-solver who could “find a solution for even the most difficult situation.” His cheerful loyalty and versatility made him indispensable to the studio.
7. Subbu’s Personality and Popularity
   Though generous and witty, Subbu was also envied by many for being “too close to the Boss.” His courtesy earned him the label of sycophant, especially from jealous colleagues like the office boy. Despite this, he remained the creative soul of the place.
8. The Story Department and the Lawyer
   The narrator mentions the Story Department, which included poets and writers whose work seldom saw the screen. Among them was a lawyer who was technically an adviser but known instead as “a spoiler” for his negativity.
9. The Writer’s Role
   Asokamitran’s own small room and repetitive filing work made others think he did “almost nothing all day,” but it gave him the quiet observation space that later fuelled his literary insights.
10. Frank Buchman’s Moral Re-Armament Army (1952)
    A turning point came when the MRA troupe visited Madras and performed plays promoting peace and morality. The Gemini staff were “terribly impressed” and imitated their style for years. This episode captures the cultural naivety and enthusiasm of the time.
11. The Mysterious English Visitor
    An English poet once visited the studio, welcomed by the Boss who didn’t know who he was. The staff couldn’t “understand a word” of his speech. Only later did Asokamitran learn that the visitor had been Stephen Spender, the renowned editor of Encounter and modernist poet.
12. The Book: The writer came across the book 'The God That Failed' on a roadside shop and realised it was a book written by the same poet Stephen Spender who visited the Gemini Studios. The book was a collection of six essays by writers who had all believed in Communism and later turned away from it.
13. Themes and Insights
    
• Satire on film industry life — vanity, idleness, and hierarchy.
• Contrast between art and commerce — writers vs. studio demands.
• Identity and alienation — educated men doing menial work.
• Irony of fame — unknown talents overshadowed by superficial glamour
14. Conclusion
    Poets and Pancakes is a comic yet poignant memoir, portraying the absurdity and charm of Gemini Studios. Beneath its humour lies a subtle critique of the creative stagnation and colonial hangover of post-independence Indian cinema.