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Enjoying a traditional spread From the wedding album At their daughter's wedding On an outdoor location Kochadaiyaan is his next film. There is no any setback in his health. We are thankful dreams? other project he has committed himself to for the concern of the fans who sent their We should never dream about their as of now. A very dedicated artiste, when prayers at a time when we were going careers. We can only give our opinions and he takes up something, he gives it his all through a traumatic phase. They don’t advice. The greatest dream a parent can from the word go. But he thinks several have to worry about his health any more. have for a child is for them to be healthy, times before he takes up anything, which He’s perfectly fine and has started happy and a good human being. is why I say he is a good analyst. working. Rajini’s biggest regret… Social causes that move Rajini… About his daughters turning His loss of freedom is his biggest He is concerned about people and directors… regret. It is not a regret; just a denial. He is wishes that the world is free of suffering. This is a new phase in his life. It is a unable to be himself. Any calamity disturbs him though he new experience for him with one daughter might not acknowledge it publicly. He discussing animation with him and the His unfulfilled wish… prays a lot for the people. other discussing script. He is thoroughly To walk on the road freely and have a Concerns about his health… enjoying this phase. cup of tea at a roadside stall. He also What he went through is quite wishes to travel a lot, meet different kinds common. Before Robot, he never suffered Have their daughters realised their of people and observe them. 49 THE HINDU

SPICE girls They’ve danced with him in the rain, calmed him down as he raged against authority, and kept him focussed as he fought the baddies. One of them even made his life miserable when she turned villain! Actors Sripriya, Radhika, Radha, Ramya Krishnan, Meena and Shriya Saran share their memories with SUBHA J RAO on working with the Superstar We started working almost around the realised he was (and is) a superstar Sripriya with Rajinikanth in Thai Meedhu Sathyam same time. Slowly, I 50 and a superman THE HINDU

R RADHA Working with him: I was his fan before I turned a co-star. My first film with Rajinikanth was Engeyo Kaeta Kural, which also featured my sister Ambika. Ten years later, when I worked with him again, I realised he had not changed one bit as a person. He would make newcomers feel so good. He would never make them feel small for having messed up a take. He would mingle with everyone and stay cheerful in any situation. Rajini- kanth would take an interest in ev- erything and be very appreciative. If he liked a costume, he would walk up to you and say: “That looks beautiful on you.” During the shooting of Rajadhi Raja, news came in of his daughter Soundarya’s birth. He had worked for the film without letting us know how anxious he was. That taught me com- mitment and professionalism.  Fond memory: We were taking a Vayudoot from Coimbatore to Chen- nai after shooting for Rajadhi Raja. I was terrified of flying, especially on small aircraft. That day, there was a lot of turbulence. Seeing my face, he said: “At least I am married and have two kids. You poor girl, you’re not even married yet.” That lightened the mood considerably. Favourite scene: That has to be the scene in Rajadhi Raja where I tell everyone that Rajinikanth will speak for us and set our problems right. I ended up speaking the way he does — idhu eppadi irukku? — and the come- dy worked really well.  Sripriya with Rajinikanth in Annai Orr Aalayam S SRIPRIYA Working with him: It is said that Rajinikanth and I have done the maximum number of films together, but I have absolutely no count. All I remember is that we saw each other literally every day on the sets. We started working almost around the same time, and hence it was like working with any other star. Slowly, I realised he was (and is) a superstar and a superman. Fond memory: A weekly had once published news that there was trouble brewing on the home front, and that my mother and I had problems. Rajini came home all the way in a scooter to ascer- tain that it was just a rumour. That was endearing. Favourite scene: For me, that would be an entire movie — Mullum Malarum. 51 THE HINDU

M Meena with Rajinikanth in Muthu MEENA Working with him: I’ve acted with him both as a child and an adult, and one thing I’ve noticed is his total lack of airs. His sense of humour is fantastic. And, he’s always just an actor on the sets, never the Superstar. Fond memory: We were shooting for Veera in Rajah- mundry in Andhra Pradesh. My Telugu film Anga Raksha- kudu had just released and the entire unit wanted to watch it. I booked tickets for all, and was hesitant to ask Rajini sir because the town did not have many great theatres then. He was delighted when I asked him and came with us to the screening. He watched the film and said I had done a good job. He was so gracious. Favourite scene: That must be the scene in Anbulla Rajinikanth where I visit his house for tea. It was shot in his house and that was my first visit to his house, and hence, very special. A few of Rajinikanth's heroines – Nadia Moidu and Sridevi 52 THE HINDU

R Radhika with Rajinikanth in Nallavanukku Nallavan RADHIKA Working with him: I first worked with him in Pokkiri Raja, when he was entering the world of RAMYA KRISHNAN commercial cinema. He was very humble. He carried no Superstar R paraphernalia. When tired, he Working with him: Working with would sleep on the floor or on piled Rajini sir is every person’s dream, and up arisi mootais (gunny bags of to think I was doing the main negative rice). He was a jovial person and role against him (in Padayappa)! Since would keep us all in splits. it was the first time I was working with Fond memory: Both Sridevi him in a full-fledged role, I was and I were terrified of snakes. Dur- stressed out and tensed. But, he had a ing the shooting of Pokkiri Raja, knack of getting co-stars to relax and Rajini would catch hold of a snake feel comfortable. That helped me. His Ramya Krishnan with Rajinikanth in and chase us around the sets with sense of humour is unbelievable. it. We would shoot a lot in AVM Fond memory: During shooting, he Padayappa and wrap up at about 3 or 4 in the would sit in a corner, as if not taking in morning. After that, Sridevi, Rajini what was happening around him. But, his sense of observation is amazing — he and I would race each other in our would know what everyone, from the lightman to the other artistes, was doing. cars, all in jest. Favourite scene: Make that movies, please. I love all his works, especially Favourite scene: The one in those with KB sir, before he became a Superstar and had to work within Oor Kaavalan where I feed him commercial constraints. He especially rocked in negative roles. I also liked him a idlis. lot in Chandramukhi. He made the role of the villainous king come alive with his laka laka laka. 53 THE HINDU

Shriya Saran with Rajinikanth in Sivaji S SHRIYA SARAN Working with him: Rajini sir is simplicity personified and kind-hearted. He handles success very well. He knows what hard work is all about and never takes anything for granted. He never complains and is very adjusting. He’s one of the most level-headed people I’ve met. He never lets the Superstar enter the sets. It’s refreshing that he does not encourage people to call him ‘sir’ on the sets. He sits with all of us, never alone in the caravan. And yes, he’s a student of cinema and reads all the time. He likes to know what’s happen- ing and has kept alive the child in him. Fond memory: While shooting in Spain for Sivaji, we took a break during shooting because it was raining. He would hold impromptu quizzes. You could hold a very intelligent as well as an utterly silly conversation with him. He’s that com- fortable to speak to. Occasionally, he would speak about his journey in cinema. It was such a tough journey, but he would narrate it with such humour. Favourite scene: The pre-interval scene in Sivaji where he flips the coin. It was a simple but pivotal scene, and he lent it such style. 54 THE HINDU

TOLLYWOOD talk… Well-known Telugu actors and filmmakers speak about their association with the Superstar to Y. SUNITA CHOWDHARY In the Telugu film Pedda Rayudu O The most loved star in the him in the best of health and wish him a very happy birthday.” On the occasion of his birthday that falls Actor Venkatesh describes the artiste on a unique date - 12.12.12, personalities as a rare person, who is down to earth and from the Telugu film industry share their thoughts on what makes Rajini arguably leads a simple life, despite his huge the most loved star in the South. most popular films have has inspired actors like me — we have Megastar-turned-Union Minister of South, some of Rajini’s popularity and larger-than-life image. “He State for Tourism, K. Chiranjeevi, who gone through the same spiritual journey. I himself commands an impressive fan been remade in Telugu do not get to meet him often but I feel following had worked with Rajinikanth in connected with him. He has stayed true to Ranuva Veeran and Mapillai. Chiranjeevi himself, and that is his greatest quality. I says Rajini is the brightest star in Indian was keen on meeting him when I cinema, whose name spells magic at the hero. He broke that stereotype, and set a was on my spiritual search. box office. Reminisces Chiranjeevi, trend with his unconventional looks. We met a couple of times “During the Seventies he visited the Rajini was the hero in Mapillai which was in Chennai and had Madras Film Institute. I was a couple of a Tamil remake of the Telugu film Atthaki intense years junior to him; by then he had already Yamudu Ammayiki Mogudu. A character conversations made his mark in three or four films. He that was not present in Telugu was created that I can shared his experiences with us and gave us in Tamil for me, on his insistence. On a He has been a suggestions. He was a source of inspiration personal level, he is truly a friend in need. to many aspiring heroes at a time when He is not only an actor but a star with a source of many aspiring looks were considered imperative for a social responsibility. I pray to God to keep inspiration to 55 Chiranjeevi THE HINDU heroes

With Chiranjeevi never forget. I connect with him not only as a human but also on the consciousness level.” Recalls actor Mahesh, “I first met him when I was very young and was stumped by his simplicity. I never fail to watch his films. The energy he exudes is amazing. He is the biggest starthat India has ever produced and no one can ever be like him.”.” Aswani Dutt who produced the Telugu film Katha Nayakudu (remade as Kuselan in Tamil and Billu in Hindi) recollects observing Rajinikanth’s Venkatesh work from 1978 onwards. “He is very affectionate and has immense respect for producers. He called me and gave me the call sheet when hundreds of people were waiting to make a movie with him. That was unexpected. The method and ease with which he acts and entertains both young and old is amazing. I wish to do another film with him and am waiting for his call.” Secretary of Producers’ Council Prasanna Kumar, says, Rajini’s popularity in Andhra Pradesh took a leap after the release of Basha and even his role in Pedda Rayudu helped build his With Amala in Mappillai 56 THE HINDU

Mahesh Babu image. He says, “Whether it is his charity, spirituality or simplicity that brought him closer to people, one thing is indisputable — he breaks his own records.” Director Sreenu Vytla recollects having watched Rajini’s film in Chennai and says that the release of a Rajini film is the mother of all festivals. He adds, “There is something about him that makes people feel he belongs to them.” Veteran producer D. Ramanaidu, in whose Tamil film Thani Kaattu Raja (1982) Rajini acted, avers that after all these years the actor’s charisma is intact. “Whenever he sees me he says we should do a film together. But it is not easy to make a film with him. It has to be good enough to reflect his image and status.” D. Ramanaidu In Kuselan 57 THE HINDU

PRAISE in prose What best way to express adulation than in words. PRINCE FREDERICK on fans who turned writers I From biographies to a chapter have about Rajini: What sort of a bus The book answers questions we all conductor was he? By doing mundane In India, a superstar is almost always the tasks such as issuing tickets with a dash of subject of irrational adulation. Fans wear in a school text book, tattoos as symbols of a binding covenant style, he was a star on the bus. What were the equations between Rajini and Kamal with him. Fans watch his film a hundred times. Fans fly into murderous rage at to take to writing engaged in bitter comparisons, the two whatever is perceived as a slight to him. Rajinikanth has inspired many in those early years? While their fans Fans are prepared to lay down their lives remained good friends with Rajini treating for him. No other hero has witnessed such Kamal as his confidant. extreme expressions of hero worship. As a student of medicine, Gayathri Despite originating in a fan’s heart, More significantly, he has also captured considered writing a book on Rajinikanth The Name Is Rajinikanth focusses, briefly hearts beyond the front benches. People but lacked the courage to carry the desire though, on aspects of the actor’s past that with accomplishments of their own also forward. Many years later, in 2008, she show him in a less flattering light: such as find him irresistible; some of these have published the biography, made possible by his trouble with the bottle and a turned his biographers. The list includes a the numerous interviews she conducted whimsical decision that doctor, a chartered accountant, an HR with people close to the actor. brings great distress to professional and a school text-book writer. Not a chronological narrative, the book his wife. Gayathri Sreekanth, a Chennai-based juxtaposes interesting episodes from Another ophthalmologist, is the author of The Rajinikanth’s life. To give just one book, Rajini’s Name Is Rajinikanth, a biographical sketch example, a chapter on Rajini’s growing that captures Rajini’s journey from a bus inclination towards spirituality is followed The Name is relates interesting conductor to a cultural icon and the trials by one that describes his euphoria over faced along the way. But the book is getting his first break as actor, followed by Rajinikanth primarily a fan girl’s tribute. a generous treat for his friends. episodes from 58 THE HINDU his life

With Nagma in Baasha PUNCHtantra, written by two men who grew up on a diet of Rajini films, has a different purpose. With a focus restricted to Rajinikanth’s punch dialogues, it seeks to glean wisdom from them that can be applied to life and business situations. The tagline for the book reads: Value Statements for Managing Life & Business Situations. The authors are not quixotic experimentalists, but men with a standing in the world of business and corporate management. P.C. Balasubramanian is a chartered accountant and the director of Matrix Business Services, a verification company. Raja Krishnamoorthy is an HR expert and the director of Talent Maximum, which provides HR services. As they admire the actor, writing the book was easy. The two took just seven months to complete it. While these books are commentaries on the reach of Rajinikanth’s charisma, the greatest tribute comes from a very short work about the author. The actor figures in a Class VI CBSE text book, published by the Oxford University Press. At the time the English text book — New! Learning To Communicate (NLTC) Course Book Six written by Paul Gunasekar — was released, the actor was the only one from the film industry to have been honoured in this fashion. An Oxford University Press spokesman explained that Rajinikanth rose above humble circumstances through hard work and would serve as an inspiration for children. The chapter titled ‘Dignity Of Work’ dwells on Rajinikanth’s life when he was Shivaji Rao Gaekwad and served as a bus conductor on the 10-A route from Majestic Circle to Srinagar, in Bangalore. 59 THE HINDU

Deconstructing the phenomenon In Kollywood, acting alongside Rajinikanth or directing ‘a Rajini film’ is an honour with few parallels. An actor or a director who has had such luck is invariably asked about the experience of working with the most popular star the industry has seen. Suresh Krissna, who has teamed up with Rajinikanth and directed successful films, including Annamalai and Baasha, cannot recall an interview over the last 15 years where he did not have to answer this question. Some of these questions have had a specific focus — for example, they may be directed at certain scenes in a Rajini starrer, almost two decades old. As Rajini fans are just as curious about these things, director Krissna decided to write a book about the Rajinikanth on the sets and behind the scenes in an attempt to explain the phenomenal hold he has on the masses and his peers. The result is My Days With Baasha – The Rajinikanth Phenomenon, co-authored by senior journalist Malathi Rangarajan. Published by Westland Books, the memoir will be released this year on December 12, Rajinikanth’s birthday. The book is also coming out with Tamil and Telugu translations. In Yajaman 60 THE HINDU

FROM THE pages… An excerpt from Naman Ramachandran’s Rajinikanth: A Biography, being published by Penguin/Viking M unsubstantiated and Badhar is quick to dismiss the notion. “There was nothing like that. He didn’t have any love affairs,” Meanwhile, back in Bangalore, Shivaji had he says. completed his twelfth standard at Acharya However, years later, at a public forum Pathashala and was devoting more and in the presence of the Superstar’s wife more time to acting in plays. When Ranoji inquired about the possibility of university, Shivaji’s reply was that he had Latha, daughter Aishwarya, son-in-law Dhanush and the crème de la crème of lost interest in further education. “The the south Indian film industry, when K. drama troupe had become his sole Balachander asked Rajinikanth interest, he was focused on that and explicitly whether he had loved his desire for education lessened,” anyone when he was a conductor, says Satyanarayana. Then, Shivaji his answer was simply, “Yes, I worked briefly at Mysore have loved.” He refused to Machinery in Bangalore’s reveal the name of the person Seshadripuram locality. Later, a or persons. After duty, Shivaji relative gave him a job loading and Badhar would go to their sacks of rice onto trucks at 10 respective homes and rest for paise per sack. The hours were a while. Shivaji would make long, the work was hard and the his way over to Badhar’s pay was of course a pittance, but home in Hanumanthnagar at least Shivaji was earning some every evening and they would money. Satyanarayana decided to go to rehearse for the plays intervene at this moment. they acted in from time to time “Rather than him roaming around which were organized under the doing plays and odd jobs and not aegis of the BTS Association. knowing when he was coming or Rehearsals were in a hall next to going, or just sitting around idly, the Chamrajpet police station and which was not correct, I spoke to a would go on from 5 p.m. till 8 p.m. relative of ours called Venkoba Rao who After that they would walk over to the was a senior inspector of police, and he got market in Kalasipalyam and have a few him a job as a bus conductor,” says drinks. “He would drink arrack and I Satyanarayana. It wasn’t as simple as a would drink beer,” recalls Badhar. After recommendation from Rao and the job drinking they would walk back and eat being granted; Shivaji had to sit for an dinner at their respective homes. The long entrance exam and obtain a conductor’s Before I was a bus conductor, I conversations that the friends had were licence. Shivaji cleared the exam, got the almost exclusively about cinema. They licence and received a bus conductor’s was an office boy, a coolie, a would watch almost every film that badge from the Bangalore Transport released each week, with Shivaji Service, still known locally as the BTS carpenter continuing to enjoy Sivaji Ganesan, though the official name now is the lofty Rajkumar and MGR starrers. After Bangalore Metropolitan Transport watching the movies, Shivaji would enact Corporation. The year was 1970. Shivaji morning shift that began at 6 a.m. and scenes in the manner of these stars. remembers clearly his time of flux before ended at 2 p.m. “There was no one faster Paying tribute to the late Ganesan, he joined the BTS. “I’m an ordinary than him in issuing tickets,” remembers Shivaji says, “I watched him, I imitated person. Before I was a bus conductor, I Badhar. “He would give out tickets with a him. He is the reason I am in the cinema was an office boy, a coolie, a carpenter,” he flourish, return change in style; it was all industry.” Shivaji was no less of a star recalls. It was at the BTS that Shivaji met about style. Passengers would look on in himself in the BTS plays. the person who he describes today as his amazement.” Laughingly, he adds, “He “He was always the main character,” best friend. Raja Badhar was the driver on would always flick back his forelock in says Badhar, adding that he himself would the bus on which Shivaji was the those days, that’s why he is bald today.” conductor. Badhar remembers well the Passengers would let earlier buses go date he met Shivaji. It was on 19 March empty and wait for the bus where the 1970 that Shivaji and Badhar joined the entertaining conductor was on duty and service together. The bus route number crowd in. Shivaji definitely knew how to was 10A from Srinagar to Bangalore Bus work a crowd and play to the gallery even Station. then. There have been accounts of the The driver–conductor pair was thrown conductor’s flirtations with some of the There was no one issuing tickets. He would give out tickets together a lot, working the gruelling early female passengers, but these are faster than him in change in style; it was 61 with a flourish, return THE HINDU all about style

PICTURES FROM THE BOOK (Clockwise from above) Rajinikanth with Kamal Haasan and K. Balachander, Raja Badhar (second from right) at Aishwarya and Dhanush's wedding and at Rajinikanth's house and on the set of Murattukaalai essay small parts. The plays were in played the villain Chand Khan. Badhar observed this display of style Kannada, one of them being Kurukshetra, “Even those days, Shivaji would do from the sidelines and wondered how it very familiar to Shivaji from his everything in great style,” says Badhar. would be if it were to be displayed on the schooldays. “His style of lifting Duryodhana’s mace silver screen. He reprised the role of Duryodhana in and placing it on his shoulder was very “I encouraged him and told him, “Look the play and won a new set of fans with his different; nobody had done it quite like here, you don’t know your own talent. I acting skills. Badhar enacted Krishna in that earlier. Or even while picking up a have observed you closely. You act very the play. knife, or walking, there was tremendous differently. Look at how the audience claps Another popular role was playing the style. He would walk up with great attitude and whistles when you’re on stage.” eponymous lead in K. Hirannaiah’s and deliver his dialogues in a rat-a-tat *** celebrated play Ecchama Nayaka. Badhar fashion. It was sheer style.” Published by Penguin/Viking, Rs. 699 62 THE HINDU

PASHA’S punch Unparalleled style, simple demeanour and affectionate gestures have made Rajinikanth what he is, writes MOHAN RAMAN With director P. Vasu and the cast and crew of Kuselan Years ago an email did the rounds where his ‘punch’ dialogues were T dialogue delivery has even brought out as a book. But the His distinctive style of interpreted as management tips. This was dialogues are not his, they have been immortalised the ‘punch’ penned by writers and directors — just Think Rajini and immediately his style that, his stylish delivery immortalised comes to mind — be it smoking a cigarette, I have had the pleasure chewing gum, tossing a coin or just directors delivering a ‘punch’ dialogue. The lines penned by writers and those lines. and the privilege of superstar has developed a unique method interacting with him that even acting coaches such as both socially and Stanislavski or Lee Strasberg would not Memorable lines have thought of. Everything he says or Years ago an email does on screen is watched in awe by At an award function Shahrukh Khan millions and that is what makes him a asked him — “When will I become the did the rounds Superstar — the uncrowned pasha of pasha?” to which Rajini calmly replied, where his ‘punch’ Indian Cinema. “Wait your day will come”. dialogues were management tips 63 interpreted as THE HINDU

In Padayappa professionally and found that he is a true leader. While waiting for a shot to One night in December 1994 I sat down to watch his film Raghavendra on be canned he never sits in video. The film made a deep impact on me and I wished to have a picture of the air-conditioned comfort Raghavenda Swamy in my puja room. And of his caravan I thought why not get it from the man who played the part. I conveyed this desire to Rajini through a common friend. In a couple of days I received a beautifully framed picture of Raghavendra Swamy. spend time with the cast and crew. And Till today it occupies a place of pride in my each time someone came by, Rajini would puja room. get up and greet him or her. I once asked him how he has the Cool camaraderie patience to do it and he replied, “It is not being just respectful, it is a good exercise I remember the days spent with him too”. When you visit his house he will while shooting for Kuselan at the Ramoji come to see you off at the gate. Film City, Hyderabad. One day many of us, including our Every evening Rajini would insist his guru K. Balachander, gathered at his colleagues take a brisk walk from the residence. Rajini asked if any of us could location which was a good three or four suggest a nice ‘punch’ dialogue. And I kilometres away from the hotel. When thought of a speech of his in which he said, some people said they did not have their “If you retain everything you eat in your walking shoes, he immediately had them body your health will get spoilt, If you brought. Even when his scenes were retain everything you earn your life will over by lunch, he would go to the hotel get spoilt.” I reminded him of this line and only to come back in the evening to join he quickly called director P. Vasu, who the group for a walk. He would regale us immediately approved it. with anecdotes and interesting stories. Later Rajini thanked me for suggesting While waiting for a shot to be canned he the line. would never sit in the air-conditioned Many happy returns of the day, Dear comfort of his caravan instead would Pasha. With actor-writer Mohan Raman 64 THE HINDU

LOOKING BACK… A selection of articles, reviews and photographs from THE HINDU archives With child artistes Anuradha and Haja Sharif in Kali 65 THE HINDU

With Meena and Roja in Veera 66 THE HINDU

APOORVA Ragangal A review of the film published in The Hindu on August 22, 1975 K K. Balachander has contributed a unique story, dialogues and superb direction in Kala Kendra’s Apoorva Ragangal. A film with a revolutionary offbeat theme it provides poetic experience. It has Sri Vidya with her eloquent eyes speaking volumes and registering many nuances of expression. Kamalahasan as a rugged fiery youth emerges as a hero of mature artistry. Jayasudha is full of sparkle. “Major” Sunderrajan gives a sterling performance Nagesh is superb as a doctor interested in fine arts and as a drunkard. Newcomer Rajinikanth is dignified and impressive. M.S. Viswanathan’s semi-classical tunes and Vani Jayaram singing at her best are other assets of the film. Kannakadurga and Gokulnath also impress in their brief role. The roving camera of B.S. Lognath never misses a beat to capture the intense clash of characters and his work is an asset to the film. Bhairavi (Sri Vidya), a famous classical singer past her thirties rescues young Prasanna (Kamalahasan) who is injured in a fight with ruffians. He recovers slowly under her care with the help of Dr. Suri (Nagesh). The young man soon falls in love with Bhairavi. Shocked she reveals to him the secret that she is the mother of an illegitimate daughter (Jaya Sudha) who had left her in disgust to lead an independent life. This young girl, Ranjani, meets a middle-aged widower (“Major” Sunderrajan) who befriends her in his loneliness. When he learns that she loves him, he is shocked since he is already the father of a grown- up son, who had left him in anger. The climax is breathtaking and a confrontation occurs, with Ranjani’s father arriving on the scene. Some of the most memorable scenes in this outstanding film emerge from the clash of Rajinikanth in Apoorva Ragangal personalities between the two odd pairs. The end should satisfy even conservative tastes and carries a Newcomer Rajinikanth subtle message about loving too The end should satisfy well but not wisely. is dignified and The film is now on show at even conservative Midland, Agathya, Roxy and impressive tastes and carries a Krishnaveni. message about loving 67 too well but not wisely THE HINDU

MULLUM Malarum A review of the film published in The Hindu on August 25, 1978 Based on Umachandran’s novel, screenplay writer- turned-director Mahendran has handled the theme deftly. Rajnikant shows his mature artistry in the portrayal of a turbulent illiterate worker with a blind passion for his sister illiterate winch operator. But with the arrival of a strict engineer (Sharat Babu), the clash of egos begins ending ultimately in Kali losing his job and a limb. His anger against the engineer, increases, when he finds his sister (Shoba) in love with him. In spite of his wife, Manga’s (Jayalakshmi) advice, he refuses to let her marry the engineer. When events lead on to a crisis, the true bond of affection between brother and sister, bring them back together and Kali relents. Ilaya Raja’s music based on authentic folk tunes, is delicious, while Balu Mahendra’s photography is a feast for the Rajinikanth with Jayalakshmi eyes. Though the film meanders at a leisurely pace in the first half, the second half is eventful. A folk dance by the tribal M Rajnikant shows his mature artistry in the Rajakumari, Roxy, Maharani, and Mahendran has handled the theme deftly. women is set to delightful rhythm. The film is now running at portrayal of a turbulent illiterate worker Mullum Malarum (colour), reflects the Alankar (noon show). with a blind passion for his sister. Shoba, as his sister, speaks little, while her healthy trend towards a simple short story, vivid picturisation of sylvan scenery, arresting characterisation, catchy folk volumes. Jayalakshmi is all vivacity and fun, ebullient and tart, by turns. ‘Vennira tunes and picturesque rustic dances that expressive, sensitive features speak seem to have caught on among our film Adai’ Murthy and Samikannu, as When events lead producers, instead of the usual formula of Rajnikant's henchmen, provide the lighter on to a crisis, the fights, duets, intrigues and cabaret dances. moments. bond of affection Based on Umachandran’s novel, Kali (Rajnlkant), inspires fear and between brother screenplay writer-turned director respect in the village, though he is only an and sister, brings 68 them back THE HINDU together

AARILIRUNTHU Arupathu Varai A review of the film published in The Hindu on October 5, 1979 R Rajinikanth makes a strong claim for this year’s acting honours with his silken touch performance in P.A. Art Productions’, Aarilirunthu Arupathu Varai. His work as a man hit below the belt also by hard luck at every turn will make even veterans in this field to gape with wonder. Such is the natural depth he has infused into the character. Gone are his brashness, the sway and swagger in his walk, and the haughtiness in manner. He has so thoroughly identified himself with this character Santhanam — perhaps his early personal life may be a pointer in this regard — and essayed it with such finesse, the viewer cannot ask for more. The story is nothing new. From the days at Naam Iruvar to Samsaram and in pictures of this genre the role of a brother steeped in poverty, sacrificing all to the well-being of his family members, has been used and analysed in various degrees. He has so thoroughly identified himself with this character Santhanam and essayed it with such finesse, the viewer cannot ask for more But in this colour movie, despite the series of catastrophies that are heaped on the frames, director S.P. Muthuraman gives that extra touch in treatment which make some of the situations look akin to daily happenings. Fortunately he has not resorted to cooking up too many “filmic” Rajinikanth and Jayalakshmi situations. The versatile pen of Panchu to sink deeper into debt. Either he gets a up her lover looking for green pastures Arunachalam does a clean surgical job of stiff rebuke or much heartburn whenever and Surilirajan, the “mild” swindler give the human emotions. Babu’s camera with he goes for help to his kin, but not a word the wanted support to the narration. gentle movements and timely close-ups of gratitude or kindness from them. A Except for the re-recording in two bring to life the many moods of the terribly cut-up man he goes to live in the places, Ilayaraja takes a vacation. characters. slums when fate pursues him with vigour The film is now on show The central piece, Santhanam is only to make him worldly wise. at Midland, Abhirami, dogged by Dame Luck right from his ‘Phatapat’ Jayalakshmi, a little pale Kamala and Crown. boyhood as he has to look after his mother, from her recent illness, suits the role of two brothers and a sister. Deprived of his Lakshmi, the understanding wife of education by this unbearable Santhanam. Jaya as the sister Kamala, has S.P. Muthuraman responsibility, he gives the youngsters the gained in girth but lost a lot in acting. gives that touch wanted education, arranges his sister’s “Cho” as the friend in need, T.K. situations look marriage to a rich young man of her heart, Bhagavathi as the understanding in treatment gets himself “trapped” into wedlock, only employer, Sangeetha, the typist who gives which make 69 akin to daily THE HINDU happenings

ANBULLA Rajnikanth A review of the film published in The Hindu on August 3, 1984 O One must know when to use a trump card to get the maximum benefit. In a story woven around a bunch of orphanage children which is bound to generate many tear-filled scenes, the key weapon is none other than Rajnikanth who is very judiciously used in the narration by actor-director K. Natraj in S.T. Combines Anbulla Rajnikanth. For one making his debut as director Natraj deserves accolades for the near-to- the-heart treatment of the situations in which the performance of a six-member- group of orphans will make even elder artistes sit up. To coax the kids to rise to the expected level is no easy task and that is where the director scores with his rich experience gained in training budding artistes at the Madras Film Institute. The narration is so nicely fashioned that Rajnikanth as the film star taking a personal interest in one of the inmates, forms a part and parcel of the story and it is a different Rajnikanth here, soft, full of sentiment and love for the kid who is deeply attached to him. There is a small sub-plot where Rajnikanth and Bhagyaraj team up to stage a benefit skit on Krishnadevaraya and Tenalirama, which like Bhagyaraj’s small essay in Vidhi will generate the wanted response and ripples of laughter. The kids are led by Rosy crippled from birth and with a distinct hatred for her mother who she thinks, has discarded her. When the real mother enters as a helping hand and wins the affections of the tough and uncompromising Rosy she learns the truth. She also learns that Rosy’s days are numbered as she has a serious heart ailment. Rosy’s only companion is the film star doing everything possible to keep her cheerful. The final moments of Rosy’s life are bound to move many viewers. Baby Meena handles Rosy’s part like a seasoned one. Her close companions are a lame boy (Master Suresh), a blind boy (Master Rajinikanth with Ambika Rajesh), a deaf girl (Lenisha), a dumb one (Sonya) and J.C. Peter (Master Tingu) — watch the last one he will sweep the viewers off their feet. Thuyavan’s script goes very It is a different well in the scenes in which the kids appear. Ambika as the hapless mother pours her Rajnikanth here, heart out while Manimala as the head of the soft, full of orphanage is very dignified. Others in the supporting cast include Rajkumar, sentiment and love Sulakshna and Senthamarai. While Ilayaraja comes out with a top number in for the kid who is Rosy’s only ‘Muthumani Sudarae’ (lyrics: Kamarsan, companion is the voice: Jesudoss). Babu’s camera embellishes deeply attached to film star doing possible to keep the frames. him On show at Devi Paradise, Abirami, everything Liberty (noon) and Bharath. 70 her cheerful THE HINDU

NALLAVANUKKU Nallavan A review of the film published in The Hindu on October 26, 1984 Rajinikanth with Radhika A There is a lot of gloss and lovers. The former mistakenly A more matured portrayal by Rajnikanth, believes that Manickam has usurped his father’s property and seeks a an equally matching work by Radhika and class in Rajnikanth’s portrayal chance for vengeance through Priya Visu’s thought-provoking script are the key factors that convert AVM’s Karthik generates the expected Nallavanukku Nallavan into an animosity through his neat work. Visu entertaining movie. Director SP. where his theatricals take a (Thulasi) whom he really loves. Muthuraman has a large hand to play in backseat in a brief role as the factory owner embellishing the dramatic elements with handing over the property to his deft touches and polished handling. forget their daughter Priya, with Uma Manickam, creates enough ripples. Based on a Telugu movie, it is a rags- consoling Manickam with brave words of Y.G. Mahendran as the friend of the to-riches story of an honest, conscious- starting a new chapter. hero is in his elements right through ridden rowdy turning over a new leaf There is a lot of gloss and class in speaking English of his own making. under the influence of his wife and facing Rajnikanth’s portrayal where his The rich sets get exposure under some trouble when his own daughter joins theatricals take a backseat. As the drama Babu’s camera while llayaraja has hands with a misguided youth, heir thickens his acting also grows with it. scored the music of the apparent to a huge property in tormenting Radhika is his understanding and stern pleasant variety. them. wife Uma, throwing away her riches (a The re-union of rowdy Manickam after mystery that remains unsolved) for good his release from the jail with his wife Uma, and converting a bad element into a now with a baby is a scene which will respectable citizen loved by all. There is A mature portrayal by linger long in memory for no words are maturity and firmness in Radhika’s Rajnikanth, an equally spoken, just a little laugh, the eyes of the handling of the part, giving of her best in lead pair doing the talking and an the wedding scene where she denounces matching work by affectionate hug. Muthuraman needs her own flesh and blood for insulting the Radhika and Visu’s special mention not only here but also in very person responsible for her. script are the key the scene where the parents are ready to Karthik and Thulasi are the young factors that convert 71 this film into an THE HINDU entertaining movie

BLOODSTONE A review of the film published in The Hindu on October 14, 1988 Rajinikanth in Bloodstone W and the different moods of the people, which he could have achieved through the character Shyam. When the Elephant Boy was released, Sabu, a Mysorean lad, became a celebrity One taxi chase is half-heartedly done and the climax fight in the hidden castle overnight in the 40s. Some four decades later another Kannadiga named Rajinikant enters the international tinsel world grade Indian director would have made through Omega Entertainment’s lacks realism and vigour. Even a second- capital of the burning rope bridge across a Bloodstone. Sabu spoke very little in his river with Shyam in the middle of it. Eric first essay. Rajinikanth, taking the second Anderson’s cinematography in no way hero’s spot, speaks a lot of English and is helps in escalating the action in the key in fact the livewire which keeps the scenes. The passage through the caves is narration from going to pieces. amateurishly done with Shyam telling There is nothing much in Niko Sandy, “That is a cobra, it is a dangerous Mastrokias story. It is all about a huge one” (!) Before that he informs a ruby with powers of good and evil stolen frightened Sandy, who had shot a python, by the British in the 18th Century. Paul “Why kill it, is harmless.” Such childish Loire (Jack Kehler), a small-time thief, dialogue is there in plenty and even the steals it for a rich baron in Bangalore, sallies between the Sandys and Lorre Ludwing Van Hoeven (Christopher during the train journey at the start are Rajanikanth’s fans will Neame). The Indian police led by a not that effective. bungling Inspector Ramesh (fine work by Rajanikanth’s fans will enjoy his enjoy his English- Charlie Brill on the lines of Inspector English-speaking role where he brings into speaking role where he Clouseau) corner him but not before he the motion his, “styles” without overdoing hides the ruby in the bag of Stephanie them. The rest of the cast tag along with brings into the motion (Anna Nicholas) out to spend her him including the hero, Stimely, who is honeymoon with husband Sandy (Brett stymied in most places. llayaraja uses the his, “styles” without Stimely). The ruby falls into the boot of South Indian percussion the taxi driven by Shyam (Rajanikanth) instruments in the overdoing them when he unloads the luggage of the couple. background score From then on it is one big chase and hunt, with good effect. the Baron even kidnapping Stephanie to On show at force Shyam and Sandy to surrender the Alankar. jewel. Dwight Little, the director, perhaps Rajinikanth, speaks has little knowledge of how to cash in on a lot of English the Indian atmosphere, the grandeur of and is in fact the keeps the narration the palaces, the scenic beauty of Karnataka livewire which 72 from going to THE HINDU pieces

THALAPATHI A review of the film published in The Hindu on November 8, 1991 T The adage that “too many cooks spoil the broth” is not valid in the present-day context is best exemplified in Thalapathi, an action and visual extravaganza of G.V. Films where the two top artists of Tamil Nadu and the Malayalam film world (Rajanikanth and Mammooty), a maestro of film music (llayaraja) and a director known for his extraordinary talent (Maniratnam), pool their skill to make an epic of a movie, fashioned on the lines of the deep friendship between Karna and Duryodhana. Maniratnam is so obsessed by these Mahabharata characters that he names one of the heroes Surya (Karna was the son of the Sun god). There is the district collector Arjun, brother of Surya, both of Rajinikanth with Mammooty whom are not aware of their identities till the closing stages of the movie. Devaraj father and disappoints the collector. alias Deva is the Kaurava king. There is The crunch portion is the scene where also a mini- Kurukshetra battle in the Moving his pieces with the Surya informs a suspecting Deva of his song-dream sequence of Sundari following filial ties with Arjun and that is where the heroine having witnessed a brutal act acumen of an international Deva, the character becomes golden in by Surya on the streets. In the battle scene content by the happenings that follow. The Rajanikanth is dressed like a Japanese grandmaster, the director end Deva faces planned by Amrish Puri, warrior waging a cavalry war, a sets a hot pace who makes a deal with the authorities, and Maniratnam speciality. The areas to show breaks it to put an end to the rule of Deva the thick friendship, created by and Surya, is matched by the retaliation Maniratnam, scale new heights which even launched by Surya. But one wonders the authors of Mahabharata would not whether the ends of justice are met when a have imagined or thought of. Moving his pieces with the acumen of surrendering Surya is allowed to go free by Surya (Rajanikanth), the upright, devil- an international grandmaster, the director Arjun, the police official (Kitty) tacitly may-care youth, denied his due in sets a hot pace, the violence and bloodshed saying “there are no evidences for Surya’s childhood while being brought up in the to settle scores between two warring crimes”, Arjun earlier being depicted as a slums as an orphan, finds Deva groups dominating and in the process the staunch upholder of the law. Perhaps (Mammootty) the ‘dada’ of that area, his bad elements in the police force also blood is thicker than law. main rival when he kills one of his getting instant verdict at the hands of Rajanikanth goes through the tough henchmen for an unpardonable crime. Surya. A mild love story with caste base (a grind nonchalantly and he is really natural Sent to jail after a thorough thrashing, he Sastri family is again the victim) is also in the scene where he admires his mother regains freedom thanks to Deva who inserted. Surya in love with a purohit’s from a distance. Mammooty, the other realises the heinous act committed by his (Charuhasan) daughter (Shobana) had to lead man, is also given a fair share in the dead man. From hereon the admiration for give up his love as the girl is chosen to wed proceedings, his deportment and the the two grow like a banyan tree, their only the collector — shades of Mahabharata sudden burst of anger, particularly when rival being a politician (Amrish Puri). here too for, it is said that Panchali ached he goes to the Sastri’s house to seek the Maniratnam opens the frames with for Kama also. Here the girl is passed from alliance of his daughter for Surya reveals black and white as the young mother the elder to the younger, Arjun. The well his mettle. New find Arvind Swamy is a abandons the baby in a goods wagon, the thought out situations to build the star material, cool and handsome. huge tree with its low hanging branches unbreakable friendship is now and then Bhanupriya takes a small role and does raising visions of Willow. Then the interrupted by some drama of hearts as well. Shobana, with her elongated face, fantastic visuals Santosh Sivan’s camera the mother (Srividya) and son search for just ambles along. That Srividya likes such capture, come to life through the each other and their silent encounters in tender motherly roles is proved again with wonderful songs of Ilayaraja. If one is the temple have touches of class. The Jaishanker generating the enthralled in the way ‘Adi rakkamma’ identification parade is another classic wanted mood. Nagesh, (SPB, Swarnalatha and group) is visualised piece. Jaishanker, the father of the Geetha and Amrish Puri and picturised (North Indian star Sonu collector, arrives to identify a person are in the also-ran Walia figures in the dance sequence with responsible for a crime. Surya is one list. Rajanikanth), with a fantastic variation in among them and is the real culprit. The the end portion of the song, ‘Yamunai father spots him and realises he is one his aatrilae’ (a lovely number by Mithali) wife is searching for despite the goadings Rajinikanth goes would caress one with its soothing effect, from his officer son, he says “I am, not through the tough though one’s expectation of superlative sure. I could not recollect” (the face), a grind nonchalantly complete natural visuals is not being fulfilled here. statement which frees Surya, elates the 73 and he is a THE HINDU in certain scenes

BAASHA A review of the film published in The Hindu on January 13, 1995 Director Suresh Krishna has fashioned his screenplay to suit the image of Rajini and the taste of his fans and the songs and sequences are fashioned to boost the image of the hero well-known Rajini style of mannerisms and Rajini has put his heart and soul into this character, one better than the Thalapathi effort. There is also a subplot here. Kesavan (Devan), a member of Anthony’s gang with a cunning mind, makes the most of the situation when there is a showdown in Anthony’s place, where Rangasamy gets killed. The police arrest Anthony for the murder and Kesavan decamps away with the gold in the place after disposing off Anthony’s wife and daughter. He becomes a rich man in Tamil Nadu dealing in smuggling precious jewels and his daughter Priya (Nagma) is in love with Manickkam! So the cycle is complete for a full reprisal which the director works out efficiently. The dance sequences, all costly affairs and coming at the right places, add more pep to the film when Anthony breaks Rajinikanth with Nagma loose from prison to get at Baasha alias Manickkam. It has become second nature for T Manickkam, his loving care of his family finesse. He nurtures the dialogue of Raghuvaran to handle such roles with to show the good nature of the auto driver The New Year and Pongal open with a nice Balakumaran with right timing, just as members — his two sisters Yuvarani and Rajini does in the autorickshaw trips with gift for Rajinikanth fans in Satya Movies Shenbagam and a brother Sasikumar are Nagma. Janakaraj, Sethuvinayagam and the children of his step mother Baasha, a movie with rich production and (Satyapriya). He raises a restraining hand entertainment values where Rajini Kitty also figure in the cast. blossoms fully to portray two different The fights are choreographed his job with perfection in this brief role), a characters, a former dada of Bombay and a when forces like Indran (Anandraj does effectively by Raju and the camera of P.S. docile peace-loving auto driver in Tamil local ruffian, tries to parade his wares and Prakash captures them vibrantly, the Nadu, trying not to fall back on his old learns a lesson when he breaches the editor Ganesh Kumar enhancing the value. ways and finding it difficult to do so when accepted level of tolerance to make the The lyrics of Vairamuthu are penned to force of circumstances pressure him. Bombay dada in Rajini to rise again, which glorify the hero and ‘Azhagu, Azhagu’ is Director Suresh Krishna, who brought leads to a long flash-cut on the happenings the best of Deva’s efforts, SPB the best out of Rajini in the runaway in Bombay in the life of the hero. and Chitra enjoy rendering success Annamalai, has fashioned his The Bombay portion is about the gang it. screenplay to suit the image of Rajini and feuds between Anthony (Raghuvaran) and the taste of his fans and the songs and Baasha (Rajinikanth), who wants to wreak sequences are fashioned to boost the vengeance on Anthony for killing his good image of the hero. friend Anwar (Charan Raj). Baasha’s father Rajini blossoms Right from the title card where the Rangasamy (Vijaya Kumar) is an employee fully to portray hero is shown in different costumes and of Anthony and he uses him to further his former dada and makeup (it forms a song sequence later hold. The swift move of the hero’s index two different on), the situations are delicately moulded finger, backed by acoustics, adds to the characters, a 74 a docile peace- THE HINDU loving auto driver

ARUNACHALAM A review of the film published in The Hindu on April 18, 1997 code of Arunachalam. The director comes into his own in portions where the heroine Vedavalli (Soundarya) goes in search of Arunachalam and mistakes Senthil for him: the humour developed is well nurtured. The attempt to stop the wedding of hero’s sister (Anju Arvind) by Vinu Chakravarthy and gang is more to display the muscle power of the hero and the episode of his younger brother’s affair with a so-called low caste girl is to project the fairness of the hero in dealing with such situations whoever be the person involved. But the real bomb is hurled here by the hunch-backed old lady (Vadivukkarasi etches a good role, despite the camera of Senthil Kumar badly exposing her padded back in close-ups) who declares Arunachalam is an orphan, brought up by her son Ammaiyappan because his entry changed the fortunes of the family. The second half is all about Arunachalam striking it rich in the city thanks to Nandhini (Ramba) whose father Rangachari (Visu), the trusted guardian of the late Vedachalam trust, identifying Arunachalam as the real heir to the properties. The crest-fallen other trust members (Raghuvaran, Ravi, V.K. Ramasamy and Kitty) try to retain the property by committing the hero to accept the wager set by his dead father — spend crores in 30 days without flouting the rules framed for it. The hero actually wants to donate the entire property for the poor but when he overhears a plot of the four to usurp the riches he accepts the wager. And that produces some interesting situations where humour, fairplay, love, Rajinikanth in Arunachalam feud occupy the frames, each attempt of the hero to spend the money, including T Humour, fairplay, proving profitable, the suspense lasting to making a film with Senthil as the hero, the last stroke of the clock. The first-half is a newly gilded version of Rajnikanth has still not lost his zest for earlier Rajnikanth movies where, as usual, action. And the message for the masses is the virtues of the uneducated, much- respected hero are glorified through newly schemed situations. The second-half is a director uses her aptly in the “search for the hero” sequences (the director also highly modified version of Gregory Peck’s love, feud occupy also there. Soundarya is fetching and the the frames Million Pound Note (the Tamil version makes a brief appearance later). Ramba Ayiram Roopai did not enjoy a big a run except in a dance scene is in the sidelines. like the English one). Annamalai Cine Senthil and Janakaraj cause most of Combines’ Arunachalam contains all the the fun. The others in the cast include elements that provide escapist God” (Andavan solran Arunachalam Jaishankar, Manorama, Subbuni, Mallaya, entertainment. seiran) which gets modified in his last Nandagopal, ‘Crazy’ Mohan, The amount of thrust ‘Crazy’ Mohan’s utterance as Arunachalam mudikiran to ‘Vennraiadai’ Nirmala, K.R. dialogue gives to boost each character has suit the occasion is the first son of Vatsala and K.K. Sounder not been cent per cent matched by the Ammayappan (Ravichandran), his other and all of them are dances and music of Deva, a forte of recent two brothers being Raja and Sakthi given the Rajni's movies. ‘Mathaadu Maathadu Kumar. He is the fulcrum around whom necessary Mallige’ (Hariharan and Chitra), ‘Athanda the entire area functions and director C. exposure. Ethanda’ (SPB and Sujatha), ‘Nagumo’ and Sundar has cooked up enough scenes to Rajnikanth has ‘Alli Alli Anarkali’ are the pick among the drive home this point, stumbling at two still not lost his six songs of Deva’s. places at the start when two villagers (a zest for action. Arunachalam (Rajnikanth) often cartman and a drunk who beats his wife) And the message proclaiming himself as the “emissary of on the sly wanted to break the accepted for the masses is 75 also there THE HINDU

ENTHIRAN A review of the film published in The Hindu on October 1, 2010 W Watching a Rajinikanth movie is not a cinematic experience that falls strictly within the dictates of a good story, racy screenplay, great music or whatever else that conventionally makes movies click. The iconic Superstar contributes a certain magic that is hard to explain. It’s more like a mother’s touch to home cooking that simply makes you want more. With Enthiran, this magic is unabashed and unrelenting from the first frame to the last. Director Shankar not only deviates a great deal from the tried and tested ‘Superstar’ formula by putting the story firmly in the centre, but also presents Rajinikanth in an avatar not seen in a long while. It’s no secret that he developed his highly-stylised mannerisms to play the antagonist. He excelled in negative roles early on in his career — in classics like Avargal, Moondru Mudichu, Netrikann, and 16 Vayathiniley, but his transition into a mass hero meant toning down all those shenanigans on screen. The audience did get a glimpse of it in Chandramukhi’s Rajinikanth with Aishwarya ‘Vettaiyan Raja’. But now, in the second half of Effects) for special effects has had a Enthiran, Shankar unleashes a villain of profound impact on the visuals. The such megalomaniac proportions that only The iconic Superstar effects are on a par with the best in the Rajinikanth could pull off. It ends up being contributes a certain magic industry. a master-class in theatrical over- Actors tend to get lost in special effects expressive villainy that is almost a that is hard to explain. It’s movies. But not so in Enthiran. throwback to the days of M.N. Nambiar Rajinikanth and Aishwarya Rai Bachchan and Asokan. more like a mother’s touch carry the movie on their shoulders, and Shankar has managed to successfully to home cooking that considering the fact that much of the walk the tightrope of making the story acting must have been in front of green accessible to the masses and yet not simply makes you want screens, one has to say that nothing looks dumbing it down. The narrative of Dr. artificial right through. Actors Karunas Vaseegaran, a dedicated robotics scientist, more and Santhanam try to evoke a few guffaws and his android-humanoid robot Chitti in a comedy track that sadly fails. But that (short for Chittibabu), both vying for the is hardly an issue here. attention of medical college student Sana, The song sequences are the is brought out with some soul. In between between a ‘re-programmed’ Chitti and centrepiece of the movie. ‘Irumbile oru all the song and dance sequences over the Vaseegaran gets the pulse racing right Idhayam poothatho’ and the climax song love triangle, Shankar manages to capture through the second half, all culminating in ‘Arima Arima’ stand out for their the inner turmoil of a robot coming to a rambunctious climax that is beyond all execution. terms with the rather complicated human expectations. There is also a poignant Billed as India’s costliest film ever, emotions of love, hate and betrayal. epilogue. Enthiran is also Sun Pictures’ first home There is a parallel storyline of Dr. Nearly every technician involved in the production. It hits the bulls-eye as an Vaseegaran’s running feud with his movie has brought in his A-game and entertainer. mentor Dr. Bohra (played by Danny seems to have set new benchmarks for KARTHIK SUBRAMANIAN Denzongpa), who is clandestinely Indian cinema in general — interested in getting the technical know- cinematographer R. Rathnavelu, editor how of Chitti to sell his commando bots to Anthony, art director Sabu Cyril, stunt an illegal foreign arms dealer. He keeps choreographer Peter Hein, music director sabotaging Vaseegaran’s plans of getting A.R. Rahman, lyricists Vairamuthu, Chitti approved for mass production for Pa.Vijay and Karky, sound engineer Resul Shankar unleashes use by the Indian Army. Pookutty and costume designer Manish a villain of such The movie does take time to warm up a Malhotra. The association of the world- only Rajinikanth bit in the first half in introducing the renowned Stan Winston studio megalomaniac concepts to the audience. But the struggle (rechristened two years back as Legacy proportions that 76 could pull it off THE HINDU

(Clockwise from top left) From Johnny, Bhairavi, Mr. Bharath and Paavathin Sambalam 77 THE HINDU

(Clockwise from top) Kuppathu Raja, Manithan and Kurinji Malar 78 THE HINDU

(Left) With Jyothi in Pudukavithai and (below) with Radhika in one of his early films 79 THE HINDU

With Sridevi in Priya 80 THE HINDU

(Above) Mullum Malarum and (left) Naan Sigappu Manithan 81 THE HINDU

THE RAJINI mystique He may be getting old but his appeal is strong as it has ever been. When he fell critically ill recently, his fans all over the world held their collective breath. What makes him tick? K. HARIHARAN tries to understand the phenomenon called Rajinikanth… E image was used by Indian filmmakers to Excerpts from an article that was their protests which few understood. His published in the Sunday Magazine (July express their angst and fears in complex 2, 2011),The Hindu and confused ways too. It is my personal It must have taken some kind of feeling that his unusually large face on a monstrous energy to drive an actor to work in over 100 films within a span of 10 abnormal shock of hair with a large years, from 1975 to 1985. It must have also small shoulder frame accompanied by an given some kind of an uncanny pleasure to forehead has also contributed to his participate indiscriminately in films with distinctive persona on screen! no idea of what they were about. And at In a very moving speech during the the same time it must have been scary celebration of compatriot Kamal Haasan’s working in an environment one 50 years in cinema, he declared that he didn’t belong to, speak an owed his career growth largely to the unfamiliar language and advice given by Kamal Haasan in his early work with almost every stage. director and That was the humble Sivaji Rao production house in speaking, acknowledging the fact that the Tamil Nadu and Andhra iconic Rajinikanth existed exclusively in Pradesh! In old myths such the realm of popular cinema and her fans characters were referred to as alone. Hats off to both of them who have ‘Rakshas' while today we fondly not sold their iconic status to sell call them ‘Rebels’! consumer products and raked in the Undoubtedly, Rajinikanth is the moolah like scores of their famous ‘filmi’ greatest rebel that any cinema has ever fraternity have done! witnessed. Starting his career Sadly, the corrupt Tamil leaders re- appropriately with a rebel called K. emerged unscathed and by the mid 1980s Balachander in the mid 1970s, he moves all the sycophancy of Tamil chauvinism up to become the sole rebel in the was restored while the bitter taste conformist, Hollywood-like epics of continued to linger on. The filmic output Shankar. All that he displayed on screen took a serious plunge, to such an extent was raw energy and no filmmaker could that between 1995 and 2010 Rajinikanth articulate his unique self-consciousness. has done only seven films! Was it a Rajini was the actor, the character and the conscious decision not to let his iconic director who shaped the actor playing the status be misused? In a very strange character, all rolled in one! And that does way, his own dream production not mean that he was monotonously the Baba becomes a significant same from 1975 to 2010! What we saw on discourse of his own status, in screen was Rajinikanth simply growing however a fragmented way. and symbolising the ‘natural’ rebel in him It required a whole new in different roles! Although filmmakers try movement to begin again to their best to maintain his ‘youthful' rebel replace the vacuum created by image on-screen, strangely he never hides one icon in the early 21st Century his aging process off-screen. with the dark films like Kadhal leading Two factors come up-front when we to Pithamagan, Subramaniapuram and want to understand the reason for his many others. Together these films immeasurable success. The first is constitute what that one icon called the public time/space which he Rajinikanth set out to do! comes to inhabit. His K. Hariharan is a writer entry into cinema and director, L.V. Prasad and the declaration Academy, Chennai. of the Emergency by Indira Gandhi bear a remarkable coincidence. By default Rajini donned the mantle of a symbolic protest through the resolution with an emphasis on valuing dissent as the cornerstone for good viewer’s immediate acceptance in his role as the Machiavellian predator in K. democracy. We must also realise that until 1983 he was equally popular in Telugu and Balachander’s Apoorva Ragangal. Like the Although filmmakers Prince in Machiavelli’s famous treatise Kannada films where similar political try to maintain his conflicts were staged. 500 years ago, he goes about inadvertently ‘youthful' rebel image structuring a discourse in conflict His arrival is heralded by hundreds of on-screen, strangely fan clubs who use this new icon to voice he never hides his age 82 THE HINDU off-screen

READYING THE Boss Make-up artiste Banu speaks to SUDHA UMASHANKER on her experience of working with the Superstar in Sivaji - The Boss T director and the crew. Since we had done a test and he was happy with the results, he trusted our judgment.” This article was published in Metro Plus, The Hindu in More than anything else, what helped pull it off, according to Banu was, “His attitude. He is game for anything and that July, 2007 shows on screen. If you are not comfortable with what you are If you have watched Sivaji - The Boss and loved the way wearing it comes through.” Superstar Rajinikanth looked, there is one person who should Talking about the style song ‘Oru koodai sunlight’ where a be given the credit, apart from director Shankar, and that is make-up artiste Banu. lot of work was done on the computer by Indian Artists, to But all those looks for the Superstar weren't achieved by lighten the Superstar’s complexion, she says, “We had to sleight of hand or a magic wand. “We did a lot of trials —make- present him with the hair style, the whole look, and with the up, hairstyles, wigs (which were all imported from the U.S.) — help of technology they changed the skin tone.” before we finalised the look. After trying 40 hairpieces, we Banu points out that make-up techniques have changed over decided on the side parted, back-combed look. For the song the years. “We were so used to Eastman sequences, we chose various looks — the Roman, and MGR, colour (when the make-up was heavy), Sivaji and Kamalhaasan spoofs,” says Banu. then when daylight took over, camera For her, working with director Shankar is a pleasure persons would tell us to keep the because, “he is sure about what he wants.” make-up minimal. Now with Is make-up just about dabbing grease paint? digital cinema, a lot of tests are “It is about understanding the story and what your director needed to see what works.” wants, and giving the actor a different look in each film.” Trained at the Mariam She elaborates, “The basic idea is to highlight the assets of Zaveri School in Mumbai and the person and downplay the minuses. For example, not under Bob Kelly of New York, everybody comes with a flawless skin so we cover the blemishes. Banu who has done the make- You must also know what lighting your cameraman is planning up for models and stars in and it's easier when you work around it. A rapport with the scores of ad films was not camera person, hairstylist, costume designer etc. will help exactly sold on the idea of achieve good results. Normally, we have a photo session prior to working for feature films. She the shoot, in which we try out different looks.” has set the looks for other stars in Next, the obvious question. What was it like to work with the past — Jyothika the Superstar? (Chandramukhi, Kaaka Kaaka “As is to be expected, there was a lot of pressure on me and Mozhi), Surya (Ghajini), because Rajini sir is used to certain people doing his make up.” Vikram (Anniyan) and Trisha A few of his fans actually told her to make him look good or (Bheema, Kreedam and all her they wouldn’t spare her. commercials) among others. Adds Banu, “It was a treat working with him. He patiently sat through all the trials and shoots, never cribbing or throwing a tantrum. He left the job of making him look good to the He patiently sat through all the trials and shoots, throwing a 83 never cribbing or THE HINDU tantrum

A SPECIAL slot in Hindi cinema Rajinikanth’s dedication has enabled him to work his way up the Hindi screen ladder, rung by rung With Sridevi in Chaalbaaz in the eyes of the public that mattered and Yet the second Hindi opportunity that A this was enough to make Rajnikanth opened up was tempting enough. Prabhat An article by GIRIJA RAJENDRAN Khanna, an assistant of Subhash Ghai, was instantly acceptable to Hindi film planning a Hindi movie focussing on the distributors. published in The Hindu on September Any artiste so slated by the 4, 1992 North-South aspect of a domestic tangle — When in 1983 Andha Kanoon mounted in this show titled Uttar Dakshin, the screen, the film industry and the world try his luck again on the all-India Hindi Jackie Shroff eminently fitted screen. The roasting was all the more at large proclaimed it a hit, not so much cognoscenti could have felt discouraged to a la Ek Duuje Ke Liye. On the Hindi front, because of the presence of Rajnikanth surprising when one considered the fact the bill. What Prabhat making his Hindi debut as because of the that Rajnikanth was popularly rated as the Khanna now wanted special appearance in the movie of Amitabh Bachchan of the South, one was a parallel megastar Amitabh Bachchan. whose mere name spelt marquee magic. So Southern was Rajnikanth merely reaped all the well placed was he, as viewed by the hero. critical ridicule going for his distinctly market forces in the South that there Andha Kanoon Southern Hindi accent and, as a corollary, seemed no logical reason for Rajnikanth to a big hit and this his acting too was dismissed as not worthy further test his value in the quicksands of was enough to of notice. But Andha Kanoon was a big hit Hindi filmdom. make Rajnikanth film distributors. 84 acceptable to Hindi THE HINDU

Rajnikanth saw that he was here not up against the icon appeal of Amitabh Bachchan. In fact the role, as Rajnikanth saw it, seemed just what the director ordered. Rajni in Uttar Dakshin was required to speak his Hindi dialogue with a heavy Southern accent. And, when not speaking in Hindi, the conversation in the film was to be in Tamil with his screen mother (Bharati). In the circumstances, Rajnikanth felt here was a heaven-sent chance to display his acting prowess on the Hindi screen without having to bother too much about his dialogue delivery coming under critical scrutiny. As a seasoned performer already, Rajnikanth knew that all concerned would come to view him more charitably, once he was accepted wholeheartedly on the Hindi screen, no matter what his accent. He may have merely followed Kamal Haasan, to Bombay. But while Kamal speedily lost heart in the studio atmosphere of Bombay, Rajnikanth determined to stay the course. Nor did Rajni make the mistake of putting all his eggs, in the bigger Bombay basket. He firmly retained his Southern connection while bidding for a wider Hindi With Amitabh Bachchan horizon side by side. In the very nature of things, Rajni had to see that Madras remained his mainstay, though in his Hindi screen ladder, rung by rung, role by central role in Bhagwan Dada (made by J. periods of absence from the Southern film role, film by film, while learning to speak Om Prakash of Bombay) and in Giraftar capital quite a few newcomers did make an unfamiliar tongue with a broadly (directed by Pryag Raj and co-starring who headway. His reasoning here was simple — acceptable accent. One point to remember else but Kamal Haasan and Amitabh that, while there could be many stars in here is that Rajnikanth was and is a Bachchan)! the South, there was only one superstar dedicated actor even while being a flashy Anyone watching Hum could see that and that was Rajnikanth! superstar. It has also been noted that stars Mukul Anand had given Amitabh Even while using his Gaekwad from the South, no matter what be their Bachchan the run of the script. After Maharashtrian origins to entrench himself ranking, have an inherent humility which Amitabh, the most prominent role in Hum in Bombay, Rajnikanth came up with a makes the switch to the commercial jungle seemed to have gone to Govinda, with further clever manoeuvre. He allowed free of Bombay that much less tough. Rajnikanth there merely to fill in the rein to all Tamil distributors who sought Rajnikanth has had the gift of taking blank. But a second look showed that, to dub his hits into Hindi. Kamal Haasan, things as they come. while Amitabh held sway, Rajnikanth had was fastidious about the way he would Rajnikanth instinctively recognised managed to make a parallel impact come across in such dubbed hits. that he would be committing commercial alongside Govinda. More important, by the Rajnikanth, just let his dubbed Hindi hara-kiri if he did not let the trade freely time Rajnikanth came to doing Hum, versions take their course. In the ultimate dub his Tamil hits in Hindi. Rajnikanth, people had stopped talking about his analysis, it was the exposure these dubbed never let the idea grow that he planned to funny Hindi accent. Thus Rajini had won a versions gave him (after his bow in Andha say adieu to his solid Madras base, he small private victory that must have made Kanoon) that prepared the ground for continued to work eagerly in Madras based him feel fulfilled. Rajnikanth to make the difficult transition films even while being readily available to Now in 1992 his Tyagi (based on his from the Madras mainstream to the Hindi film-makers. Rajni did not, Dharma Durai) has done very well, with Bombay mainstream. Films like Zulm Ki confusing his standing in the South, ever Rajnikanth in the main lead, supported by Zanjeer, Aaj Ka Dada, Fauladi Mukka, insist on being the be-all and end-all of a a number of Hindi artistes. Rajni thus is Galiyon Ka Gunda and Hum Nahin Hindi starrer. He painstakingly went clearly here in Hindi cinema to stay. Tyagi Jhukenge were permitted free dubbing through the process of establishing his star has left audiences in no doubt of that. passage by Rajnikanth even while he credentials afresh in Bombay. His ability The consideration Rajnikanth displays continued to make his bid through South- to adjust came as a pleasant surprise to for his Hindi producer contrasts tellingly produced Hindi movies like John Jani Hindi moviemakers, so that he with the truant ways of the average Hindi Janardhan, Meri Adalat and Giraftar. progressively managed to win a greater hero. In these days of skyrocketing Pragmatic: Very simply, in the face of share of the screen spotlight too, from production costs, his punctuality makes being a superstar, Rajnikanth stooped to them. Rajnikanth, given his audience pull, a conquer Bombay. He pragmatically Well-planned: No male star from godsend. accepted the fact that, scriptwise in Madras has made a better job of gingerly Even while being so busy on the Hindi Bombay cinema, he could not expect the placing one foot in Bombay even while scene, Rajnikanth continues to give the same superstar positioning and treatment keeping the other leg firmly planted in the Tamil circuit commercial hits like as in Madras, not until he established South. Annamalai (remake of Rakesh Roshan's himself in the Hindi firmament. It is a What Rajnikanth reaped out of this Khudgarz) and Mannan. measure of his vision that he was prepared two-way approach was a succession of The fact that it is very nearly a decade at all times to share the limelight with well-planned Hindi films from the South, since one first saw him on the Hindi known Hindi heroes. Not once did like Wafadaar, Dosti Dushmani and Insaaf screen is a pointer to how scrupulously Rajnikanth let his star ego come in the Kaun Karega — films that came presold as Rajnikanth has worked his way up to way. He just quietly implemented his drawing their sap and pitch from his create a special slot for himself in Hindi meticulous plan of working his way up the Southern hits. Rajnikanth even played a cinema too. 85 THE HINDU

RENDEZVOUS with Robot Ace designer Manish Malhotra talks to T. KRITHIKA REDDY about working in the Rajinikanth-starrer Robot E Excerpts from an article published in Metro Plus on September 8, 2010 He’s continent-hopping. Fittings for Rockstar in Prague, shopping for his styling assignments in New York, sauntering down the ramp in Kolkata and showcasing his designs in South Africa... all in less than a fortnight. But Manish Malhotra isn't complaining. And I don't complain either when he gives an 8.30 a.m. slot for our interview. “I love the early mornings. It's been crazy, but work gives me a high. I went to Dubai recently for a four-day break but returned in two days!” begins Bollywood fashion's Renaissance man. Cutting his work-is-a-whirl conversation short, he asks abruptly, “How does Enthiran (Robot) look? Saw the promos?” Even before I respond, he continues, “It’s the icing on a repertoire of work that spans two decades. Working with a true-blue superstar like Rajinikanth is an experience in itself. God, the man is so humble and grounded. And what about director Shankar? I think it’s typical of people from the South — to be so talented, yet so modest. This is our second film together after Sivaji: The Boss. Like an auteur in charge of his fashion theatre, he explains, “Screen clothes have to look dramatic, yet be effortless for the wearer. Science fiction, fantasy or rom-com, to me realism is important when it comes to design. I believe in connecting with people through my clothes. If the audience can't imagine themselves in my creations, then I am automatically distanced from them. Robot is futuristic, it’s sci-fi. But I still wanted the costumes to have believable elements. So even the metallic line I’ve done is not bizarre. I wanted it to be refreshing when compared to other films in the genre where costumes are weird and un-wearable.” The man who redefined Bollywood fashion with Urmila Matondkar's in-your-face sexy outfits in Rangeela, the Kapoor sisters’ (Karisma and Kareena) experimental costumes, Kajol’s effortless elegance and Priyanka Chopra’s Dostana chic, says homework and hard work have seen him through his retail and film career. “I'm methodical. You'll seldom catch me spaced out. Director Shankar made my work a lot simpler by doing most of the homework himself. His clarity of thought helped the design process. Robot is unforgettable in many ways — the cast, the costumes and the locations. I made the longest journey in my life for this film — to Screen clothes dramatic, yet be Machu Picchu. It was for a soft romantic song and I've designed some delicate outfits for have to look Aishwarya Rai.” With Aishwarya Rai in Enthiran effortless for the 86 THE HINDU wearer

THE JOURNEY in Pictures Photographer E. Gnanaprakasam who has been following the career of the Superstar for decades shares some rare pictures from his collection that includes film stills and photos shot by him and others. Seeking Kannadasan's blessings 87 THE HINDU

A star with unparalleled style 88 THE HINDU

(Clockwise from top left) Thee; Anbulla Rajinikanth; with director Mahendran 89 THE HINDU

(clockwise from above) In Bhairavi; with director-producer Sridhar; in Priya 90 THE HINDU



(Clockwise from left) In Netrikkan; deep in meditation; in Bhairavi 92 THE HINDU



Artistic tribute A. P. Shreethar showcases his admiration for Rajinikanth by painting some colourful works. We select a few that capture the Superstar’s spiritual side and a couple of interesting moods... 94 THE HINDU

Did you know? A quiz for fans of Rajinikanth V.V. RAMANAN Questions   1. A simple one to begin with. What is the christened name of Rajinikanth and who are his parents? 2. Who is Raja Badhar whom Rajini considers an influential figure in his career? 3. Which are the Superstar’s first, 50th and 100th films? 4. With which all-time Indian film icon did Rajinikanth share space in his first Hindi film Andha Kanoon? 5. Kai Kodukkum Kai was adapted from a segment of a Kannada multi-story flick that was also Rajini’s second film. Name the film. 6. Name the Prayag Raj-helmed Hindi film that featured three of the biggest stars Rajinikanth, Kamal Haasan and Amitabh Bachchan. 7. Why is February 26, 1981 an important date in the Superstar’s life? 8. The names of which Rajini characters in a super-hit comedy were used by Kamal Haasan as the title for one of his films? 9. If Muthu was promoted in Japan as The Dancing Maharaja, which hits were presented as Dancing Maharaja 2 and Return Of The Dancing Maharaja? 10. Which actress was a child artiste in Anbulla Rajinikanth, his sister in Engeyo Kaetta Kural and his co-star in Veera and Muthu?  11. The Superstar has also made his foray into Hollywood. Name this not-so-successful adventure. 12. What is special about the number ‘Adikuthu Kuliru’ from Mannan? 13. Which films have the memorable punch dialogues ‘Ithu Eppadi Irukku’ and ‘Naan Oru Thadava Sonna… Nooru Thadava Sonna Maathiri’? 14. What now regular feature of a Superstar film was first seen in the hit Annamalai? 15. Allauddinum Albhutha Vilakkum and Garjanam are the only two films of the Superstar in which language?   15. Malayalam. of the film with a distinctive music. 14. His name appearing in lights at the beginning 13. 16 Vayathinile and Baasha. singer. 12. It was the Superstar’s first song as a playback 11. Bloodstone. 10. Meena. 9. Yejaman and Padayappa. 8. Indran Chandran (from Thillu Mullu). Tirupati. 7. He married Latha Rangachari that day at 95 6. Geraftaar. 5. Katha Sangama by Puttana Kanagal. 4. Amitabh Bachchan. Sri Raghavendra. 3. Apoorva Raagangal, Tiger (alongside NTR) and join the film institute. conductor and the one who encouraged him to 2. He was the bus driver when Rajinikanth was a to Jijabai and Ranoji Rao Gaikwad. 1. Shivaji Rao Gaikwad was born on December 12 Answers THE HINDU

FAN MAIL The present generation is still in awe of an actor who started his journey decades ago. A few fans talk about why the Superstar rocks and list their favourite movies The amount of energy that I don’t remember a time in a thalaivar song can give my life when I’ve not been a early in the morning cannot Rajinikanth fan. The be compared to anything. fondest memories I have of They will make you stand my childhood involve going on your feet. He is my to the theatres with my dad source of inspiration and to watch Annamalai, motivation. Very few things Baasha, Muthu, and fighting in this world can give with my uncle because he someone this kind of was a Kamal Haasan fan. happiness. My favourite Favourite thalaivar film is Rajini film will always be very hard to pick, but if I my first, Thalapathi. had to, it’d be Thillu Mullu. - Sundar Ganesan - Ashokha Varshini To be successful, one has to be a pioneer in something or My favourite Rajini movies do things differently. Our are Muthu, Thillu Mullu thalaivar did both; he began and Baasha. I have watched the mass movie culture and Muthu about 50 times, and did it in his own style. Be it I still cry watching the the way he walks, his dialogue climax. He has such charm. delivery or the way he fights, he does them all with a smile I find him especially good in comedy roles, in movies and with humility. I love Moondru Mugam simply such as Thillu Mullu! I can watch it anytime. Rajini’s because it was among my first Rajini films and for Alex movies are evergreen. - Swetha Ganesan Pandian’s charisma. - Devnandan Krishnamoorthy Rajinikanth is a phenomenon like no Been watching Superstar other. His inimitable style on-screen is movies for as long as I can matched only by his simplicity off- remember. I used to rent screen. His punchlines may seem like his older movies on just alliterative one-liners. But look cassettes and watch them. I closer, and you’ll discover they are love the energy he brings to packed with messages for life. Sample any role, and, of course his this — solradha dhaan seivom, style. My favourite films are seiyyaradha dhaan solvom (we do what Padayappa, Annamalai and we say, and say what we do!). As for Arunachalam. And amongst choosing a favourite film, well, it’s a his older movies, I like tough ask — because, every movie of his Padikaadhavan. is a treat – no matter how many times or - Abhishek Gopal how many years later it is watched. - Raja C.K. 96 THE HINDU