Class 12 NCERT English Flamingo Prose Lesson 6 Poets and Pancakes Question and Answers.
Question and Answer:
1. What does the writer mean by ‘the fiery misery’ of those subjected to make-up’?
2. What is the example of national integration that the author refers to?
3. What work did the ‘office boy’ do in the Gemini Studios? Why was disappointed?
4. why did the author appear to be noticing at the to be doing noting at the studios?
5. Why was the office boy frustrated? Who did he show his anger on?
6. Who was Subbu’s principal?
7. Subbu is described as a many-sided genius. List four of his special abilities.
8. Why was the legal adviser reffered to as the opposite by others?
9. What made the lawyer stand out from the others at Gemini Studios?
10. Did the people at Gemini Studios have any particular political affiliations?
11. Why was the Moral Rearmament Army welcomed at the Studio?
12. Name one example to show that Gemini studios was influenced by the plays staged by MRA.
13. Who was The Boss of Gemini Studios?
14. Who was the English visitor to the studios?
15. How did the author discover wo the English visitor to the studios was?
16. What does The God that Failed refer to?
Answer:
1. What does the writer mean by ‘the fiery misery’ of those subjected to make-up’? The writer uses the phrase ‘the fiery misery’ to describe the intense discomfort experienced by the actors and actresses while having their make-up applied. This misery was caused by the incandescent lights that were positioned at all angles around the mirrors in the make-up room. These lights would have generated a significant amount of heat, making the process of sitting still under them for an extended period quite unpleasant and akin to being under a fiery heat.
2. What is the example of national integration that the author refers to? The example of national integration that the author refers to is the diverse composition of the make-up department. It was headed by a Bengali, succeeded by a Maharashtrian, and included assistants who were a Dharwar Kannadiga, an Andhra, a Madras Indian Christian, an Anglo-Burmese, and local Tamils. The author highlights this mix of people from different linguistic and regional backgrounds working together as an example of national integration predating the national integration programs of A.I.R. and Doordarshan.
3. What work did the ‘office boy’ do in the Gemini Studios? Why was he disappointed? The ‘office boy’ in the Gemini Studios was responsible for applying make-up to the crowd players during crowd-shooting scenes. He would mix his paint in a giant vessel and then slap it on their faces, aiming to cover all the pores. He was disappointed because he had joined the studios years ago with aspirations of becoming a star actor, a top screenwriter, director, or lyrics writer. Instead of fulfilling these creative ambitions, he was relegated to the seemingly menial task of applying basic make-up to the extras.
4. Why did the author appear to be doing nothing at the studios? The author appeared to be doing nothing at the studios because he worked in a cubicle with French windows and was seen sitting at his desk tearing up newspapers day in and day out. To those observing him, including likely the Boss, this activity would have seemed unproductive and without any clear purpose or contribution to the studio’s work. They wouldn’t have understood the potential creative or preparatory work that might have been involved in this seemingly destructive act.
5. Why was the office boy frustrated? Who did he show his anger on? The office boy was frustrated because he felt his literary talent was being wasted in a department he considered suitable only for “barbers and perverts.” He showed his anger on the author, barging into his cubicle to deliver extended lectures about the perceived waste of literary talent.
6. Who was Subbu’s principal? The provided text does not mention who Subbu’s principal was.
7. Subbu is described as a many-sided genius. List four of his special abilities. The provided text does not explicitly list four of Subbu’s special abilities.
8. Why was the legal adviser referred to as the opposite by others? The legal adviser was referred to as the opposite by others because he was seen as “a man of cold logic in a crowd of dreamers” and “a neutral man in an assembly of Gandhiites and khadiites.” His rational and perhaps more pragmatic approach contrasted sharply with the idealistic and nationalistic sentiments prevalent among the poets in the Story Department.
9. What made the lawyer stand out from the others at Gemini Studios? Several things made the lawyer stand out:
- His attire: He wore pants and a tie, and sometimes a coat, unlike the others who wore khadi dhoti and white khadi shirts.
- His perceived intellectual style: He was seen as a man of “cold logic.”
- His ideological difference: He was a “neutral man” in a group of Gandhiites and khadiites, suggesting he didn’t share their strong nationalist ideologies.
10. Did the people at Gemini Studios have any particular political affiliations? Yes, the majority of people at Gemini Studios had a particular political leaning. Most of them wore khadi and worshipped Gandhiji, indicating an affiliation with Gandhian principles and the nationalist movement. However, the text also explicitly states that beyond this, they had not the faintest appreciation for political thought of any kind and were particularly averse to the term ‘Communism’.
11. Why was the Moral Rearmament Army welcomed at the Studio? The Moral Rearmament (MRA) army was welcomed warmly at the Gemini Studios because it provided a novel and engaging experience for the staff. The visit of two hundred people of various nationalities was “such a change from the usual collection of crowd players.” The Gemini family of six hundred enjoyed watching their professionally staged plays “over and over again.”
12. Name one example to show that Gemini studios was influenced by the plays staged by MRA. One example showing the influence of the MRA plays on Gemini Studios and the wider Tamil drama community was the incorporation of a scene of sunrise and sunset in almost all Tamil plays for some years. This stylistic element was adopted “in the manner of ‘Jotham Valley’ with a bare stage, a white background curtain and a tune played on the flute.”
13. Who was The Boss of Gemini Studios? 1 The text refers to the head of Gemini Studios as “The Boss.” Later in the text, when discussing the visiting editor, it mentions “Vasan” being the editor of the popular Tamil weekly Ananda Vikatan and the one giving the big reception. It’s implied that Vasan was “The Boss” of Gemini Studios.
14. Who was the English visitor to the studios? The English visitor to the studios was initially thought to be a poet, but the author later discovered his name was Stephen Spender, and he was also the editor of the British periodical ‘The Encounter’.
15. How did the author discover who the English visitor to the studios was? The author discovered who the English visitor was when he was at the British Council Library looking for a copy of ‘The Encounter’ before submitting a story. He saw the editor’s name and recognized it as the name of the poet who had visited Gemini Studios – Stephen Spender.
16. What does ‘The God That Failed’ refer to? ‘The God That Failed’ refers to Communism. The book contains essays by six prominent intellectuals who recount their initial attraction to Communism and their subsequent disillusionment with it.
Understanding the text
1. The author has used gentle humour to point out human foibles. Pick out instances of this to show how this serves to make the piece interesting.
2. Why was Kothamangalam Subbu considered No. 2 in Gemini Studios?
3. How does the author describe the incongruity of an English poet addressing the audience at Gemini Studios?
4. What do you understand about the author’s literary inclinations from the account?
Answer:
1. The author has used gentle humour to point out human foibles. Pick out instances of this to show how this serves to make the piece interesting.
The author sprinkles gentle humour throughout the narrative by highlighting the quirks and inconsistencies of the people and situations at Gemini Studios. Here are a few instances:
- The Pancake make-up: The exaggerated description of the make-up as being bought in “truck-loads” and capable of turning “any decent-looking person into a hideous crimson hued monster” is humorous. It playfully exaggerates the artificiality of the film industry’s make-up practices. The idea that even stars like Greta Garbo used this same basic product adds a touch of ironic levelling.
- Robert Clive’s residences: The comment about Robert Clive’s numerous alleged residences in Madras, despite his brief stay, is a lighthearted jab at the tendency to romanticize historical figures and attach them to various locations. The phrase “done a lot of moving, besides fighting some impossible battles” adds to the gentle mockery.
- The national integration of the make-up department: Describing the diverse make-up crew as a sign of national integration “long before A.I.R. and Doordarshan began broadcasting programmes on national integration” is a subtly humorous way of pointing out that practical necessities sometimes achieve what official efforts later strive for. It’s a wry observation on the organic nature of integration versus its institutional promotion.
- The office boy’s aspirations and his job: The contrast between the “office boy’s” grand literary and cinematic ambitions and his actual job of slapping paint on crowd actors is inherently humorous. His frustration and the way he directs his “epics” at the seemingly idle author in the cubicle adds to this gentle comedy of misplaced anger and unfulfilled dreams.
- The lawyer losing his job: The statement that the lawyer’s dismissal was “perhaps the only instance in all human history where a lawyer lost his job because the poets were asked to go home” is 1 a wonderfully ironic and humorous way to highlight the unusual power dynamics and the eventual demise of the Story Department. 1. mumbaimirror.indiatimes.com mumbaimirror.indiatimes.com
- The Gemini staff’s understanding of Communism: Their simplistic and fear-based notions of Communists as “godless” individuals capable of extreme violence against their own families is presented with a touch of amusement at their lack of nuanced political understanding.
- The description of the MRA army: Calling the MRA an “international circus” because they weren’t good on the trapeze and only knew animals at the dinner table is a witty and down-to-earth assessment of a group with perhaps more serious intentions.
- The English poet’s visit: The entire episode of the English poet’s visit, from The Boss’s vague speech to the audience’s utter bewilderment and the poet’s own likely confusion, is rich in gentle humour arising from the sheer incongruity of the situation.
These instances of gentle humour make the piece more engaging and relatable. By pointing out the absurdities and human quirks within the studio system, the author avoids a dry, factual account and instead creates a lively and entertaining narrative. The humour allows the reader to connect with the characters and the situations on a human level, even amidst the unfamiliar world of a film studio.
2. Why was Kothamangalam Subbu considered No. 2 in Gemini Studios?
The text we’ve read so far does not explicitly introduce or discuss Kothamangalam Subbu. Therefore, based on the provided excerpts, we cannot determine why he was considered No. 2 in Gemini Studios. This information likely appears in a part of the text we haven’t yet encountered.
3. How does the author describe the incongruity of an English poet addressing the audience at Gemini Studios?
The author vividly describes the incongruity of the English poet addressing the Gemini Studios audience by highlighting the following points:
- The audience’s lack of understanding: The staff was “dazed and silent” because “no one knew what he was talking about” and his English accent made it impossible for them to comprehend his words.
- The irrelevance of English poetry to their lives: The author questions what an English poet was doing in a studio that made Tamil films for “the simplest sort of people,” whose lives offered them little opportunity to appreciate English poetry.
- The poet’s own potential bewilderment: The author suggests that the poet himself “must have felt the sheer incongruity of his talk about the thrills and travails of an English poet” to an audience so removed from that world.
- The overall mystery of the visit: The entire event is described as one of “utter bafflement” and an “unexplained mystery,” emphasizing the lack of logical connection between the English poet and the Tamil film studio.
Through these descriptions, the author effectively conveys the absurdity and the cultural and linguistic chasm that made the English poet’s visit seem so out of place.
4. What do you understand about the author’s literary inclinations from the account?
From the account, we can infer the following about the author’s literary inclinations:
- Interest in writing and literature: His presence in the Story Department, even if his primary task was tearing up newspapers (likely a form of editing or dealing with discarded drafts), suggests an involvement with the written word. His desire to submit a story to ‘The Encounter’ clearly indicates his ambition to be a writer.
- Familiarity with literary terms and concepts: His reference to “prose-writing” and “genius” shows an understanding of literary discussions and hierarchies.
- A critical and somewhat cynical view of the writing process: His description of the “patient, persistent, persevering drudge” needed for prose-writing, contrasting it with the perceived spontaneity of genius, reveals a somewhat jaded perspective on the hard work involved in writing.
- A curiosity about the literary world beyond his immediate context: His effort to find out about ‘The Encounter’ and his visit to the British Council Library demonstrate a desire to engage with a wider literary landscape, including British publications.
- An appreciation for irony and the unexpected connections between people: His feeling of kinship with Stephen Spender upon realizing their shared, albeit brief, connection through Gemini Studios highlights his appreciation for the ironic twists of fate and the unexpected bonds that can form between individuals.
- A reflective and observant nature: The entire narrative is filled with his observations about the people and the atmosphere of Gemini Studios, suggesting a thoughtful and perceptive individual who analyzes the world around him.
Overall, the account portrays the author as someone with literary aspirations, a somewhat critical but observant perspective on the writing world, and a curiosity that leads him to seek connections and meaning in unexpected places.
Talking about the text
Discuss in small groups talking off from points in the text.
1. Film-production today has come a long was from the days of the Gemini Studios?
2. Poetry and films.
3. Humour and criterium?
Answer:
1. Film-production today has come a long way from the days of the Gemini Studios.
- Points from the text to kick off discussion:
- The heavy reliance on “Pancake” make-up and the description of turning actors into “hideous crimson hued monsters” to look presentable under studio lights. This contrasts sharply with today’s sophisticated digital make-up, prosthetics, and lighting techniques.
- The predominantly indoor shooting (only 5% outdoors) due to the limitations of technology and lighting. Today, location shooting is far more common and technically feasible.
- The strict hierarchy in the make-up department, with different levels of assistants handling different tiers of actors, culminating in the “office boy” for the crowd. This might spark discussion about specialization and unionization in today’s industry.
- The poet in the make-up department with unfulfilled artistic ambitions. This could lead to a conversation about the different roles and career paths in filmmaking then and now.
- The rudimentary understanding and fear of “Communism” influencing the studio’s reception of the MRA. This could be a jumping-off point to discuss the political and social context shaping filmmaking then versus now.
- The visit of the English poet being a baffling event, highlighting the cultural and linguistic gap. Today, with globalization, such interactions are arguably more common, though communication can still be a challenge.
- Discussion points:
- How has technology revolutionized filmmaking since the Gemini Studios era (cameras, sound, editing, special effects)?
- What are the differences in the scale and organization of film production today compared to the studio system described?
- How has the understanding of acting and make-up evolved?
- Are there still hierarchies and specialized roles in film production?
- How do political and social ideologies influence filmmaking today? Is it more or less overt?
- How has globalization impacted the exchange of ideas and talent in the film industry?
2. Poetry and films.
- Points from the text to kick off discussion:
- Gemini Studios being a “favourite haunt of poets.” This suggests a connection, however loose, between the two art forms in that era.
- The “office boy” being a poet with unfulfilled dreams within the film studio. This raises questions about the relationship between literary and cinematic aspirations.
- The author’s own literary inclinations amidst the filmmaking environment.
- The baffling visit of the English poet, raising questions about the relevance and reception of poetry in a film-centric world.
- The author’s eventual connection with the poet through a literary magazine (‘The Encounter’).
- Discussion points:
- What are the inherent differences and similarities between poetry and film as art forms?
- How have poets been involved in filmmaking (screenwriting, lyrics, directing)? Are there notable examples?
- Is there still a significant interaction between the world of poetry and the world of cinema today?
- Can films be considered poetic? What cinematic elements contribute to a “poetic” feel?
- Does the commercial nature of filmmaking often overshadow more artistic or “poetic” ambitions?
- Has the rise of visual media impacted the appreciation and relevance of poetry?
3. Humour and criticism.
- Points from the text to kick off discussion:
- The author’s use of gentle humour throughout the piece to describe the studio environment and its inhabitants (as discussed in the previous answer).
- The subtle critiques embedded within the humour, such as the commentary on the artificiality of make-up, the perceived idleness of the author, and the simplistic political views.
- The lawyer being seen as an outsider due to his “cold logic” in a “crowd of dreamers,” which could be a subtle critique of the film industry’s sometimes unrealistic nature.
- The somewhat bemused tone when describing the MRA’s theatrical performances and their impact on Tamil plays.
- The ironic discovery of the English poet’s anti-communist leanings as a potential explanation for his welcome, hinting at a possibly uncritical acceptance based on ideology rather than artistic merit.
- Discussion points:
- How effective is humour as a tool for social or cultural criticism?
- What are the different types of humour (satire, irony, gentle ribbing) and how do they function in criticism?
- Does the author’s humour in the text make his observations more or less impactful?
- Can humour soften criticism or make it more palatable to the audience?
- Are there instances where humour can undermine a critical point?
- How does the author’s tone balance amusement and critical observation?
- Can you think of other examples in literature or film where humour is used effectively for criticism?
By exploring these points and branching out with your own ideas, you can have a lively and insightful small group discussion about the text. Enjoy!
Noticing transitions
This piece is an example of a chatty, rambling style. One thought leads to another which is then dwelt upon at length.
Read the text again and mark the transitions from one idea to another. The first one is indicated below.
Make-up department
Office-boy
Subbu
Answer:
- Make-up department: The author begins by describing the “Pancake” make-up and the make-up department of Gemini Studios, its location, and the diverse national integration of its staff.
- (Transition) The mention of the make-up men leads to a description of their work in transforming people and the hierarchy within the department. This culminates in the role of the office boy in applying make-up to the crowd.
- Office-boy: The focus shifts to the “office boy,” his age, his unfulfilled ambitions (star actor, writer, director, lyrics writer), and the fact that he was “a bit of a poet.”
- (Transition) The author then moves to his own working environment, a cubicle with French windows, contrasting his perceived idleness (tearing newspapers) with the “office boy’s” unsolicited lectures. This highlights the author’s desire to avoid these “epics.”
- (Transition) The narrative then introduces the legal adviser, contrasting his attire and demeanor with the rest of the Story Department. The author notes his unsuccessful film venture and the ironic consequence of the Story Department being shut down, leading to the lawyer losing his job.
- (Transition) The closure of the Story Department prompts the author to mention the poets who frequented Gemini Studios (S.D.S.Yogiar, Sangu Subramanyam, Krishna Sastry, and Harindranath Chattopadhyaya) and the studio’s excellent mess.
- (Transition) The mention of the poets leads to a discussion of their general political apathy beyond their Gandhian attire and their strong aversion to “Communism.”
- (Transition) This aversion to Communism sets the stage for the introduction of Frank Buchman’s Moral Re-Armament (MRA) army and their warm welcome at Gemini Studios.
- (Transition) The author describes the MRA’s plays and their surprising influence on Tamil drama, specifically the adoption of the sunrise/sunset scene.
- (Transition) Years later, the author reflects on the MRA’s anti-communist stance and the possibility that this was the reason for their welcome by the “big bosses” of Madras, including Mr. Vasan.
- (Transition) The narrative then shifts to another visitor to Gemini Studios, described initially only as a poet from England. The Gemini staff’s limited knowledge of English poets (Wordsworth, Tennyson, Keats, Shelley, Byron, and a vague awareness of Eliot) is highlighted.
- (Transition) The identity of the visitor is revealed: he is not just a poet but an editor, which explains The Boss’s grand reception (Vasan was also the editor of Ananda Vikatan).
- (Transition) The author then digresses into his conviction that prose-writing is for the persistent drudge, contrasting it with the notion of genius. This leads to his discovery of a short story contest in a British periodical.
- (Transition) The desire to learn about the periodical leads the author to the British Council Library, where he finds copies of ‘The Encounter’.
- (Transition) Reading the editor’s name, the author realizes it is the same poet who visited Gemini Studios, Stephen Spender, leading to a feeling of connection.
- (Transition) Years later, after leaving Gemini Studios, the author’s attention is drawn to a cheap book sale, where he discovers ‘The God That Failed’.
- (Transition) Seeing Stephen Spender’s name among the contributors to ‘The God That Failed’ suddenly illuminates the mystery of his visit to Gemini Studios in the context of anti-communism.
This breakdown shows how the author’s mind seems to jump from one related idea to another, creating the “chatty, rambling style” you mentioned. Each paragraph or section often takes a seemingly small detail and expands upon it, eventually leading to the next point in the narrative.
Writing
You must have met some interesting characters in your neighbourhood or among your relatives. Write a humourous piece about their idiosycrastes. Try to adopt the author’s rambling style, if you can.
Things to do
Collect about twenty cartoons from newspaper and magazines in any language to discuss how impotant people or events have been satirised Comment on the interplay of the words and the pictures used.
Answer:
Certainly! Here’s a humorous piece written in a rambling, anecdotal style about quirky characters in a neighborhood, followed by guidance on collecting and analyzing editorial cartoons.
“The Chronicles of Babu Uncle and Other Peculiar Species”
I come from a neighborhood where people are either obsessed with fitness or food—or in the confusing case of Babu Uncle, both. Babu Uncle is a retired railway clerk who insists on doing yoga at dawn, loudly, with an intensity that could awaken the dead and mildly terrify the living. Every morning at exactly 5:47 AM, you can hear his nasal rendition of “Ooooooommmmm” bounce off the rooftops like a divine foghorn. He wears a banyan that was probably white during the Mughal era and insists on calling all forms of stretching “international yoga fusion,” even if it’s just him attempting to tie his shoelaces without collapsing.
Then there’s Mrs. Lata Verma, our local gossip transmission tower. She’s equipped with a mental radar that picks up any scandal within a 3-kilometre radius. If your pressure cooker hisses one too many times, she’ll assume you’re hiding gold. She’s mastered the art of hovering casually by gates while pretending to be watering non-existent plants. Once, she started a rumour that Mr. D’Souza’s cat was possessed, just because it refused to eat from a steel bowl.
And how can I forget Chintu, the neighbourhood boy genius, age nine, who once rewired the doorbell to play Bollywood songs. His proudest achievement remains the time he trained pigeons to deliver candy instead of messages, an operation that ended only when one particularly greedy pigeon crash-landed on Mrs. Verma’s head with a stolen laddoo.
In short, living here is like attending a never-ending open-air theatre. There’s no shortage of characters—each more bizarre and entertaining than the next. It’s a sitcom without cameras, though I suspect Babu Uncle wouldn’t mind one.
Collecting and Analyzing Editorial Cartoons:
1. Collection Tips:
- Look for editorial cartoons in newspapers like The Hindu, Times of India, New York Times, or magazines like The New Yorker and India Today.
- Try to gather a mix of political, social, and cultural themes.
- Choose cartoons in different languages to observe how satire is shaped by linguistic nuance.
2. Analyzing the Interplay of Words and Pictures:
- Visual Symbolism: Often, cartoons rely on exaggerated imagery—a politician with an oversized head, or a crumbling pillar labelled “Democracy”—to convey critique without needing many words.
- Text Elements: The caption or dialogue often delivers the punchline or irony. For example, a cartoon of a man watering a “Money Plant” with taxpayers’ money speaks volumes when labelled “Budget Day.”
- Cultural Cues: In India, gods, animals, or historic figures are frequently used in satire. A cartoon showing a common man offering prayers to “Petrol Deity” during fuel hikes uses humour and reverence to comment on economic distress.
- Tone and Intent: While humorous, the underlying message is often biting—mocking hypocrisy, corruption, or societal absurdities.
About the Unit
Theme
An account of the events and personalities in a film company in the early days of Indian cinema.
Sub-theme
Poets and writes in a films company environment.
Comprehension
Understanding humour and satire.
Following a rambling, chatty and making inferences.
Talking about the text
Focus on devices for achieving thematic coherence.
Things to do
Extension activity on cartoons as a vehicle of satirical comment on human foibles.
Answer:
- The Central Setting: Gemini Studios itself acts as a unifying element. All the diverse characters and events are anchored within this specific microcosm of the film industry. The descriptions of the make-up department, the Story Department, and even the mess create a tangible backdrop against which the stories unfold. This shared space connects the seemingly disparate anecdotes.
- Recurring Characters: The author revisits certain individuals – the office boy, the legal adviser, The Boss, and eventually Stephen Spender – throughout the narrative. These recurring figures provide continuity and allow the reader to see different facets of the studio environment through their interactions and stories. They act as anchors in the rambling flow.
- The Contrast Between Worlds: A key thematic element is the juxtaposition of the world of cinema with the world of literature and poetry. The presence of poets in a film studio, the office boy’s literary aspirations, the author’s own writing inclinations, and the baffling visit of the English poet all highlight this interplay and sometimes clash between these creative spheres. This contrast provides a consistent thematic focus.
- The Exploration of Human Foibles through Humour: As we discussed earlier, the gentle humour is not just for entertainment; it serves to subtly critique the personalities and practices within the studio. The vanity associated with make-up, the perceived idleness, the simplistic political views, and the cultural misunderstandings are all presented with a humorous touch, contributing to a thematic understanding of the human element in this unique environment.
- The Passage of Time and Reflection: Although the style is chatty, there’s an underlying sense of the author looking back on these events with a degree of reflection. The transitions often involve a shift in time (“In those days…”, “Years later…”), allowing the author to connect past experiences and draw thematic conclusions, such as the eventual understanding of Stephen Spender’s visit.
- The Theme of Unfulfilled Potential and Misplaced Aspirations: Several characters, like the office boy with his literary dreams and perhaps even the poets in a commercially driven environment, embody this theme. Their stories, though told in a rambling way, contribute to a larger commentary on individual aspirations within the often-unpredictable world of filmmaking.
- The Undercurrent of Cultural Context: The references to Prohibition under Congress rule and the prevailing fear of Communism subtly ground the narrative in the specific social and political climate of the time. These contextual details, though not always explicitly the focus, contribute to a richer understanding of the motivations and reactions of the people in Gemini Studios.
- The Author’s Voice and Perspective: The consistent “chatty, rambling” voice of the narrator acts as a unifying force. It’s through his subjective experiences and observations that we encounter these various aspects of Gemini Studios. His personal journey of understanding, from bewilderment to eventual realization about Spender, provides a thematic arc that ties the seemingly disparate elements together.
So, while the piece might feel like a series of tangents, these underlying devices work to create a thematic coherence, painting a vivid and humorous picture of the early days of Indian cinema through the lens of the people who inhabited its unique ecosystem. The focus on poets and writers within this environment further sharpens this thematic focus.