“Rajinikanth: A Life” by Vaasanthi
Rajinikanth is a superstar who rose from being a porter/coolie and a bus conductor to achieving godlike status in Tamil Nadu. He has over 150 films to his credit, many of them blockbusters, and at the age of seventy he still plays a hero! With nearly forty years of stardom, his career coincided with the Dravidian self respect movement promote atheism, his fans venerated him as ifbhe was a god by worshiping his cut-outs and bathing them in milk and beer. He has tried dabbling in politics by commenting on the policies of various chief ministers, being fairly outspoken on the river Cauvery water sharing between the two states of Tamil Nadu and Karnataka and so on. In 2017, Rajinikanth announced that he would form his own political party and contest all 234 seats in the 2021 assembly elections. It created a frenzy. His fans were delighted as this was the day they had been waiting for. Tamil Nadu has a history of having actors-turned-chief ministers. So this avatar of Rajinikanth would not be out of the norm. But his political detractors considered him to be naive and there were others who were convinced he would align with the BJP, a right wing party, thereby giving the party a foothold in the state. Ultimately, after three years, Rajinikanth announced his retirement from politics citing health reasons.
The images with this post are from his comments on the Citizenship Amendment Act (CAA) 2019. The Act granted citizenship to undocumented members of six minority communities — Hindus, Sikhs, Christians, Jains, Buddhists, and Parsis — from Pakistan, Bangladesh, and Afghanistan who had migrated to India on account of religious persecution before 31 Dec 2014. The Act excluded Muslims. Rajinikanth publicly declared his support for the Act. After much intervention by civil society groups, individuals and push back from political analysts, Rajinikanth posted on Twitter (2 Mar 2020), “I am willing to play any role in order to maintain peace I the country. I too agree with their [Muslim leaders] comment that a country’s prime objective should be love and peace.”
Vaasanthi is a bilingual freelance writer, journalist, novelist and translator from the Tamil into English. In her biography of this superstar, Vaasanthi, tries to map the ascent to stardom as well as try and understand the intricacies of what makes Rajinikanth what he is. Given that she is able to straddle the English-speaking world and Tamil society, she is the ideal bridge in conveying to rest of the world on what is so special about Rajinikanth. She is able to put aside any inclination to turn this biography into a hagiography as most Tamilians would find it challenging to have a rational perspective on the actor. It is impossible to explain in words. It has to be seen to be believed. The extract from the book is a fine example of how well Vaasanthi is able to create a narrative and explain the compulsions that drive Rajinikanth. The CAA is a tricky space to comment upon but Rajinikanth opted to do so. Yet, he has lived his life sufficiently in the public eye to probably recognise the folly of his hasty announcement and how it may affect electorate sentiments as at that time he was still contemplating entering politics. So he did not exactly take back his words but he came forth to support the Muslims. It was a quick comeback but politics is not like cinema. Fans can be mollified, politics affects people at multiple levels. It requires astuteness, wisdom, knowledge and deep understanding of issues rather than glib PR stunts.
Nevertheless, this is a book that will appeal to Rajinikanth fans, political scientists, journalists and perhaps a few academics. Understandably it is embedded in the socio-political space of Tamil Nadu and it is not always easy to comprehend. Sadly, this book lacks pictures. Except for the technicolour cover design, there are no other images.
25 July 2021