The Making of Superstar’s 2.0!

Superstar Rajinikanth’s next film 2.0 is in the making. In fact it’s been in the works for a while. I heard that the shooting is over and post production is going on now. For a perfectionist filmmaker like Shankar, the bench mark is no more his own films like Enthiran/Robot but the recent magnum opus –Rajamouli’s Bahubali franchise.  Not just for its box office earnings but also for its making. Hence, not surprising that 2.0’s release got pushed to 2018. However what’s been making the news of late is not the film 2.0 but the “making” of Superstar’s career 2.0. That of his entry into the political theatre. While it is easy to speculate about his film 2.0’s success (considering the pedigree of the team and its prequel), predicting the success of Rajini’s career 2.0 is quite complex.

Before making an attempt to do that let’s step back and look at Rajini’s film career. As an actor he has been destiny’s own child. There is no doubt that he is one of the most successful actors ever to appear on Indian cinema screens. Rajini today has transcended the boundaries of Tamil cinema and is now an acclaimed National star. However, in his own admission he doesn’t check most of the boxes for an actor. He is not among the good-looking actors India has produced.  He never boasted of a sculpted body or “packs”! Rajini is not an accomplished dancer either. He makes some body movements which become dance steps. He doesn’t transform himself for a role à la Kamal Haasan or Aamir Khan. His make-up artists, costume designers and SFX team do that for Rajini. He is not a method actor like a Shivaji Ganesan too.

He does check a few other boxes, though. He has a screen presence which very few other actors can match. He shows tremendous energy on-screen. This over a period of time became part of his trade mark “Rajini Style”. He has a powerful screen voice and a way of dialogue delivery. Above all the one thing which stands apart is that he knows what he is good at.  He has constantly tried to play to his strengths and thereby gallery. He is extremely smart and I must say shrewd in picking up his scripts.  Particularly since the 90’s when he became the Superstar Rajinikanth we know of and big bucks started riding on him. He works hard the most on choosing the script, the director and his movie title in that order. If this meant shunning risks which came in the form of unconventional story lines or off beat roles, so be it.  If this meant rehashing the same template of “Riches to Rags to Riches” (R2R2R) so be it too.

Why am I laboring so much about Rajinikanth’s 1.0 (films) when actually this post is supposed to be on Rajinikanth’s 2.0 (politics)? In the past his entry into politics was more like ‘puli varuthu, puli varuthu’ story and was of 2 types. One, where he took a firm stand against a party during elections but soon withdrew into a shell. Second where he sent cryptic messages of his political leanings and his imminent entry through punch dialogues and song lyrics in his films. But these were more like gimmicks smeared in his movies by the dialogue writers. Lyricists and directors and seldom were his own design.  But this time around, there seems to be some firmness in purpose. So why exactly is he wanting to enter politics now???

From Rajinikanth’s point of view, may be now ‘Aandavan Sonnan’ (God commanded). Or he feels purely from an opportunity angle this is the perfect time for entry into politics. If there is a time where people can be provoked to try someone new it is this.  So probably his loyalists are pushing him to take the plunge now.

On the flip side, it is no longer a cakewalk for film stars in politics. Even in TN, from Vijayakanth to Sharat Kumar to Vadivelu it has been a rough ride. In the neighbouring states of Andhra and Kerala the likes of Chiranjeevi and Suresh Gopi – stars in their own right, have had mixed success. The youth of today are not so enamoured by a film star and don’t believe that a film star can change their lives. And certainly entering into politics and succeeding is not as easy as what Rajini’s character accomplished in the film Arunachalam!

In politics Rajini has only more to lose than gain. That’s why it will be good for him to take lessons from his filmi career and stay away from politics. Lessons like playing only to his strengths, not getting into experimentation and shunning risks of any kind.  And play again and again his own punch dialogues which will give him all the wisdom required. The likes of:

En vazhi, thani vazhi (My way is my own)

Kashtapadaama edhuvum kidaikaadhu. Kashtapadaama kedachathu ennikum nilaikaadhu. (You’ll gain nothing without hard work. And if you do, it won’t last for long)

For Rajini, there are always so many other ways of giving it back to the society if he wishes so. He can dip into his own movies if he needs ideas on that.  In his films he has often defied gravity. In his career 2.0 it will be difficult to do that.  Ask Amitabh Bachchan.  Amitabh 3.0 has been a revelation.

Postscript: While on Rajini, the other pillar of Tamil Cinema Kamal Haasan has also been in the news of late fueling speculation of his entry into politics. To me Kamal is a consummate marketer as much as an actor. He is doing his best to drive TRPs for his TV Show, guys. Period.

OK, No more – Mani!!!

My first reaction after watching Maniratnam’s latest outing OK Kanmani was “Man, Mani should now call it a day”!!! Okay_Kanmani_film_poster

After feeling disappointed the last few times over (Guru, Raavan, Kadal), it was with much trepidation that I ventured to watch what was Mani’s 21st film without even bothering to look at reviews. Ofcourse the teasers and trailers communicated loudly that Mani was in his familiar territory. Youth, Urban, Romance, Rebel,…,… Like somebody said there was virtually a sympathy wave this time around for Mani and more than himself, his fans wanted this movie to work. And there are enough reasons for this kind of sympathy and empathy.

After all, in Tamil cinema which is usually driven by the “Star Mania” (Puratchi thalaivar of yore to Thala of today not to forget the Nadigar Thilagam, Super Star, Ulaga Nayagan, Ilaya Thalapathy in between) – there has been little scope for a Director to make his mark and make people throng the theatres just for his direction. Maniratnam did that. Again and again for a long time. Up until recently. Not that he was the 1st to do so. From Bhim Singh to Sridhar to Balachandar to Bharathiraja and briefly Bhakiaraj all of them did exactly that. But what made Maniratnam stand apart from others was he removed “Drama” from Tamil films and that was a welcome change. Rooted in “casualism”, his movies shunned lengthy dialogues, over the top acting/overacting, emotional hathyachaars,… in short what I call as “Drama”. And brought in an overdose of cool quotient –female leads with a rebellious streak, Staccato dialogues, matter of fact acting and ofcourse with a lot of emphasis on the technique (Cinematography, Storytelling style, Background score, Music, Sound engineering, Song picturisation,…) And appealed to the Nextgen. Having said that, he was careful not to tread the path of an Adoor Gopalakrishnan (the ace Malayalam Film maker whose movies were rooted in realism – so rooted that they failed to break into the mainstream mould and remained favourites of film festival hoppers). Mani was smart to remain mainstream while pursuing an alternate film making path for himself.

It was about 3 decades ago when we were in our 2nd year Engineering that Mani’s 4th film (Mani was just another upstart director then and not the Mani Sir) Mauna Ragam silently got released. Those were days when we use to watch almost every film to hit the theatres for want of alternate source of entertainment. When we came out of the single screen theatre after watching Mauna Ragam, our usual group which usually get into slicing and dicing any movie on our return to the hostel for few hours, this time was silent. Silenced and stunned by an all new freshness hitherto unseen in Tamil movies. So much so we hit the theatre to watch the movie the second time soon. And then the analysis of the film followed for few days over. The lines Revathi (main female lead) speaks to her mom after marriage just before the 1st night were the kind unheard of in Tamil cinema before. Karthik’s characterisation in a cameo role made boys wonder why they are not like him. And I came across a MBA HR Manager (Mohan – the male lead) for the 1st time in a Tamil film 🙂 🙂

After Mouna Ragam, when Nayagan hit the screens, Maniratnam had arrived and there was no looking back since. I can devote an entire post on Nayagan which I will keep it for another pertinent occasion. For now I will just leave it with – “In Tamil cinema there was an era before Nayagan and one post that”!

In an interview when somebody asked him as to what was the secret behind his films’ connect with the audience – Mani said that all his films are about relationships which people relate to. And generally not from out of the world.  But when I look at his body of work, there are 2 types. One set of films just about relationships (Mauna Ragam, Agni Natchathiram, Idayathai Thirudathe, Anjali, Alai Payuthey and lately OK Kanmani) and the second set is about relationships but in a political/current affairs/worldly backdrop – Nayagan (Bombay Tamils), Roja (Kashmir issue), Bombay (Post Ayodhya riots), Dil Se (NE turmoil), Kannathil Muthamittal (Srilankan strife), Aayutha Ezhuthu  (Student politics), Raavan (Maoist problem),…  He has appealed to us and made a success of both the genres by and large. But what comes naturally to him I guess is when he talks to us in an Agni Natchithiram or an Alai Payuthey lingo.

Frankly when I saw Roja way back in 1992, I was a tad disappointed. First of all I couldn’t accept that Mani can do a film and make a good one at that without Ilayaraja and P.C.Sreeram. And then a Mani film with a serious issue like Kashmir strife as a template was something unimaginable and not expected. But gradually the film grew on you. (So did Rahman’s music). And when the dubbed version of Roja got a wide appreciation in Hindi, I guess Mani’s ambitions took wings. Then after he started writing Tamil films but for a national audience.  So a sense of indulgence started creeping in as it does for most creators who initially create work without any burden of expectations and then have to, to live upto their own reputation.

Even at that stage I thought he was still making brilliant films. I for one still couldn’t understand why a Dil Se flopped (perhaps for the contrived climax I later concluded). But with Alaipayuthey in 2000, he went back to his original style- a film about relationships without any forced backdrop. And just for the Tamil audience. And about Urban youth. And with P.C.Sriram. And just when we were relieved, Mani Sir went back to his second type with a series of films like Kannathil Muthamittal, Aayutha Ezhuthu, Guru and Raavan. I liked KM and AE but only in parts. I forced myself into liking Guru though not fully convinced. I gave Raavan and Kadal a miss after not so charitable reviews. But quite obviously they were disappointing and couldn’t help questioning Mani’s sync with the times.

And then OK Kanmani happened. The urban coolness is back. Staccato lines are back. The rebellious streak is back. And P.C.Sreeram is back. The relief in us is back. Mani is back 🙂 🙂 🙂

And that’s precisely why I feel that he should now call it a day. After all it’s better to sign off on a high and not after he is forced to, post a string of flops trying to explore relationships with Nepal earthquake some ISIS territory as backdrops 😦 😦

It’s not my contention that Mani should stop experimenting and keep making Agni Natchithiram/Alaipayuthey/OK Kanmani type films for ever. I am sure he has still within him for a few more movies and good ones in that. Just that anxiety as an admirer of Mani’s craft that his upcoming movies mustn’t fail and he mustn’t fall from that high pedestal he is positioned himself in.

M_Id_97352_mani_ratnam

Postscript: No, as an afterthought, maybe he should do one more film. With Ilayaraja and Rahman to do the Music honours in a co-operative effort. That will be path breaking and be in sync with Mani’s credentials😜 😜

Can Rajini???

The feeling is almost the same. That feeling when India fails to win inspite of Sachin (or for that matter Kohli now) scoring a masterly century under trying circumstances in a second inning of a test match. Because others fail to do their bit of scoring a few runs required at the end or the bowlers failing to take the wickets in time.  The feeling after watching Lingaa, the latest outing of the “Superstar” was no different.  Rajinikanth in a dual avatar punches above his weight in the film but the story, the script, the director, the music and even the dialogues which lack the usual punch have let him and his fans down badly. Frankly Rajinikanth, coming after an illness which forced him to take a break from movies amazes with his energy and tries to lift the tiringly long movie from ruins. So cannot blame him if the film disappoints his fans but eventually it is his film and so the buck will stop with him I guess. The verdict was clear when my 7 year old daughter who doesn’t get tired of watching the many re-runs of Robot or Shivaji started pestering me as to when the interval would come :(.   Lingaa may still end up being a top grosser at the box office but would not end up in the echelons of Rajini’s best outings.

Most of Rajini’s films in the last 2 decades were based on a central template of “Riches to Rags to Riches (R2R2R)” replete with punch dialogues and other formula items. I hear that Rajini is very careful in giving a go ahead to a script and chooses his director carefully. So when directors gets a chance to make a film with Rajini as the lead, they first consider themselves very lucky. And while directing Rajini, they look at themselves as among his Numero Uno fans first and his “Director” later. So they invariably get conscious of the trappings around Rajini’s image and try their best to stay close to the central theme and the formula.  So whether it is Muthu, Baasha, Annamalai, Arunachalam, Padayappa or even Shivaji they all follow the “Rajini patented R2R2R2” leitmotif. It was a welcome relief to see P.Vasu in Chandramukhi and Shankar in Enthiran (Robot) deviating from the R2R2R theme and still emerging successful.

The question is how long is Rajini or his directors going to flog the same template? As long as it continues to work and rakes in moolah would be the answer I guess. But first with Kochadaiyan and now with Lingaa I feel that the fatigue is setting in. As we saw in Lingaa or for that matter a few years back in Baba (Rajini’s 1st unqualified failure in 25 years) just the Rajini factor may no longer be enough to sustain that Thalaivar aura. The script does play a role. So, what next for Rajinikanth?  As part of the barrage of unsolicited advice he must be getting day in day out, here’s mine.

Looking ahead, he could look at two other people in India who have similar stature and faced similar conundrums in life.

Comparing Rajini’s career with that of Sachin Tendulkar’s may be odious but may be worthwhile. I was always of the opinion that Sachin who carried Indian Cricket on his shoulders for years delayed his retirement from Cricket few years late. He could have retired much before giving us the opportunity to see his stumps cartwheeling against rookie bowlers. As the cliché goes, it is better to retire when people ask “why” and not “when”. Similarly for Rajinikanth it would have been better if he had called it a day after Enthiran. A film in which apparently he was not the 1st choice, but made it a humungous hit with a stellar performance thereby unleashing the larger than life “Rajini phenomenon” and ofcourse the myriad jokes. Director Shankar whose initial choices were Kamal Haasan and Shahrukh for the main leads resorted to Rajini after he realized that only he can make producers fork the mega budget that film called for. Signing off in style post Enthiran on that “high” would have been a fitting climax for an individual who was an outsider in the industry. Now that he didn’t, with Kochadaiyaan and now Lingaa, the conundrum for Rajini begins, I reckon. Decades ago when their careers were going parallel, Kamal started venturing into producing his own films.  I remember reading an interview where Rajini was asked if he will get into production. His answer that time displayed profound wisdom and maturity. He said that he was not keen on producing films because if the 1st movie becomes a hit, the temptation would be to make a bigger hit and if it flops, then the desire would be to deliver a hit. So he felt that it would be a bottomless pit and was happy just acting in movies. Well, I guess with his growing stature and compulsions he had to tweak that philosophy of his. But now I feel he should have applied that wisdom while signing up new movies post Enthiran.  Now that things have come to this head, he can look up to his friend and another successful individual Amitabh Bachchan and take some cues.

Amitabh a mega star and brand in his own right, these days cherry picks his movies and roles where he doesn’t have to play the main lead but where he can leave an impact on the role and the film. This way he is not weighed down by the expectations from a lead actor but at the same time is able to satiate himself of his creative urges and that of his fans’ unending appetite to see him on screen. One or two movies a year in cameo roles till his health and will permits could be a middle ground for the Superstar.

rajini

The moot question is, Can Rajini look at the above options?? Or will he dig into the R2R2R2 template yet again?? Only time will tell.  Well as the folklore goes, “If Rajini can’t, nobody can”. Isn’t it?

On that note, “Dear Birthday, Belated Rajinikanth wishes” 🙂 🙂