Scenes from Viralukketha Veekkam, Karakkatakaran, Sathi Leelavathi and Balle Vellaiya Thevaa
Kovai Sarala’s cinema life can perhaps be aptly summarised with a quote from the genius comedian, Charlie Chaplin: ‘Life is a tragedy when seen in close-up, but a comedy in long-shot’. One always gets the feeling that Tamil cinema hasn’t quite used Sarala’s acting potential to the fullest.
But she doesn’t complain. Ever the optimist, she’s happy to talk about the positive aspects of cinema. She remembers fondly her first film, Mundhanai Mudichu (1983). “I was preparing for Class 10 board exams at that time, but K Bhagyaraj knew I was interested in acting.”
She went on to establish herself in Nooravathu Naal (1985), Japanil Kalyanaraman (1984), Raja Chinna Roja (1989), and Karakattakaran (1989). But it was Sathi Leelavathi (1995) that made her a household name. “That is still my best film experience till date. I remember being nervous, but Kamal made it all seem so easy,” she says.
A self-confessed fan of Chandrababu, Suruli Rajan, and Nagesh, Sarala has made a name for herself in Tamil cinema for her impeccable comic timing. It’s no wonder then that she’s done almost 800 films. “I don’t know. I could well have done around 1,000 films. I don’t keep track of these things. I’ve always done several films at once. Sometimes, the names of the films I’m working on confuses me,” chuckles Sarala, whose present projects include Vijay-Atlee’s film, and Simbu’s AAA.
She entered Tamil cinema wanting to be an actor. “But I never aspired to be a heroine,” she says. Does she believe her acting potential has been used by the industry? “I don’t like to judge the industry on such parameters. Maybe that’s why I still get offers,” she says.
Well, that and the significant lack of comediennes. However, she does hint that the industry could do with better writers. “We need more writers to come up with strong roles for artistes like me.” Slowly, as she eases into the topic, she says that the other problem is how comediennes are seen as actors who play secondary characters.
Sarala also rues that the characters written for comediennes are usually irrelevant to the main story. “That’s probably why many young female artistes believe they play characters that are inferior to the other main characters. This needs to change if we want good actors,” she says. ]
Sarala wants to completely stop double entendres from scripts. “It’s not healthy. In the 80s, we did more effective comedy, but with clean tracks,” she says. But ever the diplomat, she quickly adds, “But I won’t complain. I have to continue doing films for my sustenance.”
She does agree that it isn’t easy to be a woman in Tamil cinema. “No matter how successful you are, you’re always judged by your last film. One mistake, you’re doomed. I’m glad I have the luxury to refuse a role.”
And yet, she knows that her salary isn’t anywhere close to how much male comedians make. “It’s a male-dominated field,” she laughs. “The disparity was greater in the past, but it’s better these days. At the end of the day, all I want is to be satisfied with my work. ‘Did I make people laugh?’ That’s all that matters,” she smiles.
Source: The New Indian Express