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2020 might have been a troublesome 12 months for individuals the world over. But, it has been a 12 months of milestones for Superstar Rajinikanth, who turns 70 right this moment. Earlier in August, he accomplished 45 years within the movie trade. And he lastly took his extremely publicised and long-awaited political plunge. With Rajinikanth throwing his hat within the ring for the following state elections, it appears individuals of Tamil Nadu will as soon as once more face a troublesome query that to date remained inside the confines of cinema: Rajinikanth pudikuma? illa Kamal Haasan pudikuma? (Do you like Rajini or Kamal?)
For many years Rajinikanth and Kamal Haasan have held contrasting positions as high stars of Tamil cinema. While Rajinikanth most well-liked fashion to substance, Kamal selected substance over fashion. And they each took Tamil cinema past state borders and opened up new markets for Indian motion pictures worldwide. While Rajinikanth made Japanese fall in love with Tamil melodrama, Kamal delivered motion pictures that had been deemed Oscar-worthy (seven Kamal movies have been submitted to Oscars from India).
But they’d one factor in widespread: each used the platform of cinema to propagate their political beliefs. However, there was an enormous distinction in how they addressed political points of their motion pictures.
Kamal has been very vocal about politics from the very starting of his profession. However, till the 1990s, Rajinikanth didn’t get political in his motion pictures.
The starting of Rajinikanth expressing his political ambitions may very well be traced again to director P Vasu’s Panakkaran (1990). It began with a easy dialogue, “Naan nenacha thalaivan edathuku romba sulabama vara mudiyum.” (I may very well be a pacesetter very simply if I want so).
And Rajinikanth solely grew bolder in expressing his robust political beliefs. For instance, Valli, which he wrote and produced in 1993. In the film, he performed an alcoholic with seemingly never-ending phrases of knowledge. Sample this: An inebriated Veeraiya (Rajinikanth) crashes the marketing campaign of a political celebration, the place the distribution of free goodies is occurring. And Veeraiya snaps: “naama enna pichaikaarangala? selai vetti vaangurathukku… modhelle velai vetti kelungayya. velai vetti kedacha, selai vetti nambale vankalam” (Who are we beggars to take sarees and dhotis? Ask for employment alternatives, in order that you should purchase your individual clothes.)
Probably, that is the one film during which Rajinikanth talked about actual political points. In the next movies, it grew to become all about himself. It was the early days of “Will he? Won’t he?” query, and Rajinikanth let his favorite filmmakers exploit that eagerness and curiosity of the general public to the hilt. Film after movie, he hinted that it was solely a matter of time earlier than he took state politics by storm. He used his movies to handle his detractors with traces like Nethikku enna kooliyaa vechurndhaan, inikku nadigan aakirkaan, naalaikku… (He made me a coolie yesterday. He has made me an actor right this moment. Tomorrow…) in Uzhaippali (1993).
And he adopted that teaser with extra traces like: “Eppo varuven, epdi varuvennu yaarukkum theriyathu. Aana vara vendiya nerathula correct-a varuven.” (No one can inform when or how I’ll arrive, however when the time is correct, I can be there.)
And the Superstar upped his political rhetoric along with his religious movie Baba (2002). In the movie, touted as a launch pad for his political profession, Rajinikanth performed an atheist who enjoys the blessings of all of the gods. And the movie traces his transformation to a spiritual particular person. Even on this movie, Rajinikanth maintained his picture as a reluctant chief, who was ready for some form of divine sign to make the leap. Again, the principle political difficulty right here was, “Will he or won’t he?”
In distinction, Kamal Haasan performed an idealistic and well-read youth going hungry for days resulting from lack of employment in Varumayin Niram Sivappu (1980). He spoke about how politicians misguide and exploit kids for his or her private features in Sathya (1988). He addressed violent caste conflicts in Thevar Magan (1992). He tackled the ethical decay of society in Mahanadhi (1994), ills of corruption in Indian (1996) and the price of hate-politics in Hey Ram (2000).
And now that brings us to the million-dollar query: Rajini pudikuma? illa Kamal pudikuma?
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