Rajinikanth at 71: Decoding the legend of the South Indian superstar

One cannot truly comprehend the sheer star power that Rajinikanth commands unless they’ve survived one of his hyperbolic productions at a cinema.

Flashing neon lights will systematically spell out ‘Superstar’ before any filmmaker dare use Rajinikanth’s name on screen; the title of the film itself is irrelevant in the face of the mass hysteria that spreads like wildfire across the cinema, with chants of ‘Thalaivar’ (Tamil for leader or boss) notching up octaves to reach a deafening roar.

With every stylised flick of his hair, his trademark deadly swagger, or the simple motion of cocking his eyebrow before delivering a line that could break the internet faster than a Kardashian could ever hope, Rajinikanth’s very existence on celluloid is reason enough to celebrate for his army of loyalists.

As urban legends go, even the late Sridevi was reportedly not immune to the actor’s appeal. According to an account in the Deccan Chronicle, back in 2011 when Rajinikanth had fallen critically ill, Sridevi undertook a week-long fast, praying for his recovery. The two stars shared a close bond through their struggling days, having worked in nearly 20 films since 1976’s Moondru Mudichu.

Yet, long before Rajinikanth transformed into this on-screen juggernaut, the actor lived a simple life as Shivaji Rao Gaekwad, taking up odd jobs to make ends meet, including a stint as a bus conductor in Bangalore (now Bengaluru).

Rajinikanth’s foray into acting started out with small-time mythological stage productions during his early years (with a little financial help from his bus buddies) before he was discovered by Tamil film director K. Balachander. The acclaimed filmmaker, who was also instrumental in facilitating Sridevi’s transition from a child star to a leading lady, would go on to transform Rajinikanth into the superstar he is today.

Under the guidance of Balachander, the actor mastered the Tamil language and made his film debut in 1975’s Aboorva Raagangal. The drama went on to win three Indian National Film Awards, including the accolade for the Best Feature in Tamil and established Rajinikanth as one of the handful of names to come out the industry at the time — next to Sridevi and a certain Kamal Haasan. His time on celluloid was limited to playing negative roles before filmmaker S. P. Muthuraman revamped his image in Bhuvana Oru Kelvikkuri (1977). And there’s been no looking back since.

It is often said that even though Haasan and Rajnikanth embarked on their film careers around the same time, often working together during the late 70s and early 80s, it was perhaps the latter’s rags-to-riches story — coupled with his unconventional looks and distinct screen style — that connected with the masses.

While there may not be a single film that can pinpoint Rajinikanth’s transformation into the cult status that he commands today, there are several that come close, says Kumar, who calls the Mani Ratnam directed Thalapathi (1991) as one of the actor’s finest performances.

By 1999, the reclusive actor turned even more media shy, getting selective about his film choices after the record-breaking success of Padayappa. Following a three-year hiatus, Rajinikanth returned with Baba (2002), opening to criticism and backlash from several who felt the film was negatively influencing youth.

Rajinikanth waited another three years before returning to the big screen with a triple whammy, first being 2005’s smash-hit Chandramukhi, followed by Sivaji The Boss two years later and the sci-fi drama in 2010, Enthiran.

Many critics speculate the actor should retire now but one look at his army of loyalists you can safely say the trailblazer will continue to rule hearts on celluloid with his trademark swagger in check.