First up, I haven’t seen Annaatthe – Rajinikanth’s latest film to have hit the big screens all over the world during the festive Deepavali week. So, this is not “My Flash Review” of the film. However ever since the film got released on the 4th, I have seen quite a few reviews – both of the professional reviewers and the social media type. And mostly they have not been charitable about the film. In fact, they have all trashed the film. Herein lies a tale of irony.
Among the Tamil speaking audience not just in Tamil Nadu but all over the world, Rajinikanth has been a huge phenomenon for many years now. No other star has been able to get the kind of adulation he gets, till now. In fact, over the years his appeal has spread to other South Indian states and now even to other parts of India. So, when a Rajini film is about to be released, there is this huge expectation. And this expectation gets hyped up and amplified in the new age digital era with the release of First looks, Teasers, Singles, Trailers and Making videos which flood our screens before the release through well-orchestrated PR campaigns.
One would argue that the trend is the same for all popular stars today who use social media to the hilt to create a buzz before release. But in the case of a Rajini film, other than the hard core fans (which every star can boast of), the excitement extends beyond his loyal fans. It extends to common public, youth, children, elders and even IT Professionals! The countdown starts as soon as the release date is announced.
First there is frenzy and craze for booking the tickets for the opening weekend and then there is this craze for the FDFS (First Day First Show) tickets. The whole experience of watching a Rajini film wherever in the world FDFS is completely different. Since this has been written often enough, I am not dwelling into the same here. And those who watch the film FDFS also take it upon themselves the onerous responsibility of giving a ball by ball update of the film from inside the theatres through social media with pictures, clips and what not. The result – the verdict on the film is almost out within three hours of the release. The irony of Rajini films in the recent past has been this “Verdict”.
The fact of the matter is since the film Sivaji – The Boss in 2007, we are yet to see a fully enjoyable “Rajini padam”. Enthiran was also good and enjoyable but I would call it as a Shankar film rather than a Rajini film. If you see the films since then which are Lingaa, Kabali, Kaala, 2.0, Petta, Darbar and now Annaatthe we can see a pattern. A pattern of the films weighed down by some huge expectations and then flattering to deceive. I am not getting into the debate of Box Office collections or profits these films made because they are subject to interpretations and fair data are seldom available in open domain. We can’t get into conclusions with the available “convenient” data. So, instead of calling them as flops or failures, let me call them as “Underwhelming” films.
In the above seven films, Ranjith’s films – Kabali and Kaala were disappointing not for the same reasons as the other five. Ranjith tried to capitalise on the Rajini persona with a matching character, imagined Rajini and cast based on his actual or close to actual age and did not make him dance and prance with heroines one third his age. The problem in these films as per me was Ranjith not knowing what to do in the screenplay while untying the knots at the end, resulting in both films promising a lot but leaving us disappointed at the end.
The other five films can be grouped together and they suffered from what I call as the “Fan Boy Director” syndrome. The directors of these films namely K.S.Ravikumar, Karthik Subbaraj, A.R.Murugadoss and now Siva see themselves as fiercest fans of Rajini first and then as his director. And herein lies the problem. When they wear their fan boy hats, they only see the form of Rajini which they enjoyed way back in the 90’s. The script takes a backseat. Showing Rajini as this larger than life mass hero of the 90’s takes prominence. In my opinion, this concept is done to death in movies like Annamalai, Baasha, Muthu, Padayappa, Yajaman and in even Arunachalam where a template of “Riches to Rags to Riches” (R3) formula was used to good effect.
We are in 2021. In my opinion, only those in the age bracket of 40-60’s now can relate to the 90’s nostalgically like the directors. Children in the teens today were not born then and they can’t understand the brouhaha over a film like Yajaman! Similarly the youth in the 20’s and probably 30’s were toddlers then and so cannot relate to the Rajini –Meena romance in Muthu or a Rajini-Khushbu kadavule kadavule chemistry in Annamalai.
This is the BTS (Bangstan Boys) or PUBG generation. To them, trying to bring back the nostalgia of the 80’s and 90’s by rehashing some of the earlier themes in my opinion just doesn’t work. Even for those in the 50’s, having seen many of Rajini’s films in the past, we would like to see him in substantive roles rather than doing the same thing again and again. Here, I would also like to add that it is not necessary that in these times of feminism, social media activism and wokeism, yesteryear super-duper hits of Rajini like Padayappa and Annamalai may meet with the same response today. Some of these films haven’t aged well, frankly.
I would suggest therefore, that Rajini provided his health permitting, follows the playbook of Amitabh Bachchan who still rules Bollywood but, qualitatively and not quantitatively. Following the footsteps of Amitabh is nothing new for Rajini. In the 70’s and 80’s many of Rajini’s super hits in Tamil were remakes of the “Angry Young Man” films of Amitabh. Just that when Amitabh’s glory as a hero waned off in the 90’s, Rajini had to look elsewhere for his scripts and landed up with the “R3” template.
Today, Amitabh is not necessarily cast as the main protagonist but is always cast in a role in which he can make a difference. Which means that directors finish the script and approach him for casting if he is suited for it and not the other way about as it is the case for Rajini today. Mostly, directors and producers get the nod from Rajini based on a broad story line and then they try to fit in Rajini, the mass hero into a templated script. This also means casting the most popular lady as the heroine invariably, crowding the film with popular co-actors whether the script demands or not, filling in with frivolous comedy tracks thereby shooting the budget to astronomical proportions. This in turn raises the expectations of the entire supply chain and as we have seen, the film wilts under the weight of its own expectations.
Even in the last few films, one thing which is still going, is Rajinikanth himself. No one is still questioning the power of his screen presence or his energy or even his capability. What is under scanner for sure is his judgement of scripts and roles. So, at the December of his career, Rajinikanth can decide to write the climax of his career differently by being more discreet and choosy. After all, we don’t want this climax to become an Anti-Climax!