BENGALURU: I wanted to be an actor, but it didn’t work out. I liked theatre, but it seemed elusive. I didn’t want to be a farmer, but I didn’t have a job. I wanted to be a lawyer. But every time I started practising, something got in the way. There was no peace. I didn’t get anything. Everything slipped away, like Maya Mruga (magical beast),” writes veteran actor-filmmaker TN Seetharam in his recently-released memoir Nenapina Putagalu (Sawanna, Rs 550).
Often referred to by his initials TNS, Seetharam began his nearly five-decade-long career in film, theatre, and television as an associate to playwright and filmmaker P Lankesh in the mid-’70s, but garnered widespread fame through his multifaceted contributions as an actor, director, producer, and screenwriter, for classic teleserials like Mayamruga, Muktha, Manvantara and more. A relatively private person, Seetharam presents not just the memories but also the lessons, the struggles, and the triumphs of a rich career for the first time, with Nenapina Putagalu.
“There’s a saying: If you find yourself in a better place today, your once painful past can transform into a source of joy; conversely, if you’re currently facing hardships, the happiness of your past may cast a shadow of sorrow,” says Seetharam, adding, “Typically, the intricate details of events experienced decades ago fade into the background of our memory. However, when penning a memoir, it’s akin to journeying through those memories anew. This process reignites the smaller, forgotten details, allowing you to essentially re-experience your life. Such an endeavor can be a journey of delightful rediscovery or a path that revisits past pains.”
Among the many painful experiences that shaped the veteran artiste is his experience following the sudden passing of his father. “My father passed away when I was just 19, and the responsibility for the entire family suddenly fell on me. At that time, I was doing relatively well in the theatre circuit. Back in those days, theatre was very fashionable. Prominent theatre personalities, including Lankesh, would offer me roles in their plays.
I was also getting roles in films. But my father’s passing suddenly put an end to all of that. I had to go back home and take up farming. Those were extremely testing days in my life, but I had to endure it for the rest of my family,” he says, adding, “I don’t think I would have been the person I am today without all the struggles I went through in my early days. When people go through these intense experiences, they gain a new perspective that can teach them a lot more.”
At a time when Kannada television was predominantly filled with traditional and devotional storytelling, Seetharam’s arrival marked a shift towards realism with a focus on socio-politics and interpersonal relationships. Seetharam credits the success of his television endeavours to his experiences working with some of the biggest names in Kannada film, theatre, and literary landscape early in his career.
“I found myself immersed in an environment of political consciousness; I took part in protests against the emergency. I was lucky to have worked with and learned from many who have left a lasting imprint on Kannada literature and cinema. I always believe that any piece of artistic work has a soul and a body. Stalwarts like Lankesh, UR Ananthamurthy, Poornachandra Tejaswi, and many more inspired me and taught me about the issues that I explore with my works – the soul of my works. While Puttanna Kanagal taught me the art of conveying those issues to the people effectively – and the body.”
Meanwhile, Seetharam is currently working on reviving the teleserial Magalu Janaki, which was halted production abruptly due to Covid-19. “We are working on bringing Magalu Janaki back soon. It will be available on OTT,” he adds.