This write-up may seem superfluous as most of the fans would have read the requiem to the popular artist and cartoonist Gopulu.
But I want to record a fact here - that it was Gopulu’s beautiful illustrations in the 1950s that made me read the serial, ‘Thillana Mohanambal’ in Ananda Vikatan . And like Ekalaiva , I invariably tried to reproduce his lines to the best of my ability, a habit that has stayed. I was eight years old at that time and remember waiting eagerly at my uncle’s house in Triplicane on Thursday afternoons for the newspaper boy to deliver the weekly issues of Ananda Vikatan. Till then, I used to read only the children’s section. Even today, ‘Thillana Mohanambal’ is my favourite with Gopulu’s artwork etched in my memory. Just a couple years ago, I got a new print with Gopulu’s lively illustrations.
I have been amazed by Gopulu’s range and insight. Like situational songs in the early day movies, one could understand the crux of the episode without reading the story, thanks to his illustrations. During his association with Ananda Vikatan, he had done innumerable work for Deepavali Malar and other similar special editions. Most of his works are line drawings with a certain amount of washing or shading, yet lifelike and beautiful. His cartoons didn’t require text and were delightful standalones.
His depiction of Mohana, Shanmugasundaram, Vadivambal, Minor, Kadambavanam Pillai and especially Chavadal Vaithi, and Madanpur Maharaja were exemplary and showed how involved he was with the story to be able to create such immortal characters. Similar was his depiction of Devan’s Sriman Sudharsanam, Komala, Sambu, Vembu, Mr. Vedantham… the list is endless. His rendezvous with Saavi through ‘Washingtonil Tirumanam’ and ‘Ingey Poyirukkireergala’ was realistic and comical. Gopulu created some elite and fashionable women in Vikatan Editor Sevarkodiyon’s novel, ‘Un Kannil Neer Vazhindaal…’ where two contrasting charming characters, Shantha (traditional yet modern) and Nalina, (modern sporting stylish spectacles) were portrayed.
His illustrations for historical novels such as Jegachirpiyan’s ‘Thiruchchitrambalam’ ( Ananda Vikatan’s prize winning novel) were extraordinary. If I remember correctly, the coiffure he had drawn for Mukkokizhanadi, Vallabi and Parivadini were later used for the characters when Kalki’s ‘Parthiban Kanavu’ was filmed. Incidentally, one of the latest publications of ‘Parthiban Kanavu’ has Gopulu’s illustrations.
For Jayakanthan’s ‘Sila Naerangalil Sila Manidhargal’ and Rajam Krishnan’s ‘Mannagatthu Poonthuligal’ Gopulu highlighted the memorable characters through his brush. From veteran writers such as Rajam Krishnan to the present day author, Seetha Ravi, all would make a special request to Gopulu to do the illustrations for their stories.
When I was young, if my father asked me what I wanted for Deepavali, I would say, ‘Ananda Vikatan Deepavali Malar,’ because it always carried special pictorial features on popular saints and personalities by Gopulu.
For the past decade, Amudha Surabi had made it mandatory to feature Gopulu’s art work on its colourful cover of Deepavali Malar. The move was an incentive for me to buy and preserve the issues.
My interest in drawing was kindled by Gopulu’s art work,
A recent incident motivated me (I am in my 60s now) to write this piece. Of late, I have started reproducing all Gopulu’s Deepavali issue covers with colour pencils. When I showed it to Amudha Surabi editor Tirupur Krishnan, on one occasion, he immediately called up Gopulu to tell him about me. Gopulu, whom I had not met till then, was kind enough to invite me and show my work to him.
I met him at his residence last December and shared my regard for his art. He saw my work and appreciated my effort, andalso showed me how he had been in the process of collecting all the novels with his illustrations. When he said he could not get the copy of ‘Thiruchchitrambalam’ and ‘Alawai Azhagan,’ I was thrilled, because I had the original copy of ‘Thiruchchitrambalam.’ Since he wanted to make a copy of it, I gave it to him. Once the job was done, he asked me to come and pick up the book. He was looking frail and the demise of his wife had left an impact. Nevertheless, he received me with warmth and showed me his collection.
I left, feeling blessed for getting the opportunity. In a way, life had turned a full circle for me.
