Poets and Pancakes About the author

About the author

This section introduces Asokamitran (1931–2017), a prominent Tamil writer known for his insightful accounts of the Indian film industry, particularly his years at Gemini Studios in Chennai. Gemini Studios, established in 1940 by S.S. Vasan, was a pioneering and influential film production house in the early days of Indian cinema. Asokamitran's role at Gemini Studios was seemingly minor—he was responsible for cutting out newspaper clippings on various subjects and organizing them in files, often rewriting them by hand. Despite this humble task, he was considered the most well-informed member of the Gemini family, reflecting his keen interest and awareness of the cinematic world. The excerpt from his book My Years with Boss offers a vivid glimpse into the workings of the studio and the personalities involved. This background sets the stage for understanding the narrative tone and context of the chapter, which blends humour, satire, and nostalgia to portray the early film industry and its cultural milieu.

• Asokamitran was a Tamil writer who worked at Gemini Studios.
• Gemini Studios was founded in 1940 by S.S. Vasan in Chennai.
• The studio was a major influence in early Indian cinema.
• Asokamitran's job was to collect and file newspaper clippings.
• Despite his minor role, he was the most informed member of the studio.
• The chapter is an excerpt from his book My Years with Boss.
• 📌 Gemini Studios: A pioneering Indian film production company established in 1940.
• 📌 Asokamitran: Tamil writer and employee at Gemini Studios known for his literary accounts.
• 📌 S.S. Vasan: Founder of Gemini Studios and a key figure in Indian cinema.

Make-up department and national integration

This section describes the make-up department at Gemini Studios, highlighting its physical setting, personnel, and the cultural diversity within the team. The make-up room was located upstairs in a building believed to have been Robert Clive's stables, giving a historical flavour to the studio's premises. The room resembled a hair-cutting salon with incandescent lights illuminating half a dozen large mirrors, creating what the author calls 'fiery misery' for those subjected to make-up, due to the intense heat and brightness. The department was initially headed by a Bengali make-up artist who left after becoming too prominent, succeeded by a Maharashtrian, assisted by a team representing various regions of India: a Dharwar Kannadiga, an Andhra, a Madras Indian Christian, an Anglo-Burmese, and local Tamils. This diverse team exemplified national integration long before it became a formal agenda in Indian broadcasting. The make-up artists could transform actors into grotesque monsters using pancake (a brand of make-up) and other potions, necessary because most shooting was indoors and required actors to appear in a certain way under studio lights. The department maintained a strict hierarchy: the chief make-up man handled lead actors, the senior assistant the second leads, the junior assistant the main comedian, and the office boy was responsible for crowd players. The office boy, despite his title, was a middle-aged man who had joined the studio aspiring to be a star but ended up mixing paint for crowd scenes. He was also a poet, adding a layer of irony and human interest to the narrative.

• Make-up department was located in a building believed to be Robert Clive's stables.
• The room had incandescent lights causing 'fiery misery' for actors.
• Staff included people from various Indian regions, showing early national integration.
• Make-up transformed actors to suit indoor shooting requirements.
• Strict hierarchy in make-up assignments based on actors' roles.
• Office boy was a middle-aged man and a poet who aspired for a film career.
• 📌 Pancake: A brand of make-up material used extensively in Gemini Studios.
• 📌 National integration: Unity among diverse cultural and regional groups within India.
• 📌 Hierarchy: A system of ranking people according to status or authority.