The reason why India has a rich tradition of cartoons is probably that there is never a dull moment in its turbulent politics, which also not infrequently influences the country’s social and cultural life as well. There was always enough material, therefore, for Mario Miranda’s engaging characters like the corpulent boss and the slim Miss Fonseca to find bewildering and startling. It was the unsmiling and astonished expressions, drawn with clear, firm lines, which amused the readers, as did his other, more crowded canvases. The visible shock or a hint of disapproval on the faces of these two figures in the pocket cartoons was commentary enough on the state of affairs in the country.
It is curious that many of the celebrated cartoonists, who enlivened the daily lives of countless readers, came from the south of the Vindhyas, whether it was the doyen of them all, K Shankar Pillai of the Shankar’s Weekly or Abu Abraham or N K Ranganathan, better known as Ranga, or P K Sankaran Kutty Nair, or simply Kutty, or O V Vijayan. Now, Mario Joao Carlos do Rosario de Britto Miranda, who also came from that region, has also left us with only memories of his creations.
As an icon, who richly deserved the Padma Shri and Padma Bhushan titles which he received, Mario has set an example of how fun can be totally devoid of bitterness. Even his depiction of the writer of a column who extolled malice, picturing him sitting with a bottle of an inebriating drink and titillating pictures, can only evoke a smile. It is not improbable that it is this capability of seeing the lighter side is a part of our mental make-up. In this respect, cartoonists like Mario — although he would describe himself as one who only drew pictures — eminently reflected the national temperament. It cannot be said how soon, or whether at all, the void left by the passage of these stalwarts will be filled, especially in view of the rising importance of TV. But it will be a great tragedy if cartooning becomes a dying art.