Rajinikanth at 74: The superstar who faltered in politics

There is a Rajinikanth we love and a Rajinikanth we struggle to reconcile with. His vulnerability in Johnny and the unabashed rawness in Mullum Malarum made him impossible not to fall in love with. But in his perhaps unintended quest for superstardom, he sadly traded his histrionic prowess.

We adored the Rajinikanth who humorously poked fun at himself during the Enthiran audio launch, recounting how a neighbour in his Bengaluru residence asked him who the hero was when he mentioned working with Aishwarya Rai. But it’s difficult to reconcile that with the Rajinikanth who labelled the protestors of the Thoothukudi Sterlite plant as anti-social elements.

The quintessential villain

Rajinikanth, who turns 74 today, is a phenomenon in Tamil cinema — and in Indian cinema as a whole. At 74, he still radiates a charisma that ignites the screen. Take Kaala, his 2018 film, in which, clad in black, Rajinikanth uses nothing but his eyes to convey a power and aura that challenges authority. Or the recently released Vettaiyan in which he plays a ruthless but honest encounter specialist.

Rajinikanth’s innate strength lies in being a quintessential villain — he often used his unique mannerisms and body language to embody a form of villainy that remains unmatched in Tamil cinema. From his debut in a minor role as an abusive husband in Apoorva Raagangal (1975), Rajinikanth quickly became a defining presence as a villain. In the song Vasantha Kaala Nadhigalile from Moondru Mudichu (1976), his emotional transformation is striking: from rowing the boat with a mix of jealousy and a smug, impatient smile as Kamal Haasan romances Sridevi—whom Rajinikanth was eyeing — to continuing with a stern decisiveness as Kamal drowns.

We catch a glimpse of Rajinikanth’s villainous side once again in Chandramukhi (2005), in which his iconic “lakalakalakalakalaka” and in Enthiran (2010), in which his menacing laugh, assert his dominance as the true master of Tamil cinema’s villains.

Also read: Rajinikanth at 74: When Thalaivar shared a hall with 40, had no clothes for dance class

A versatile actor

Of course, this doesn’t mean Rajinikanth’s talent is confined to playing villains. His versatility as an actor goes far beyond that. In the 1977 film Buvana Oru Kelvikuri, he portrays Sampath, an honest salesperson and a failed lover whose girlfriend dies in a freak accident. He is also a loyal friend who doesn’t question the wrongs committed by his friend Nagaraj (played by Sivakumar). Sampath eventually marries Buvana, who is abandoned after being impregnated by Nagaraj, but their relationship remains platonic. In the end, he dies of a heart attack. Buvana chooses to live as his widow.

In the iconic Johnny (1980), directed by the legendary Mahendran, Rajinikanth plays dual roles — Vidyasagar, a barber who kills his girlfriend, and Johnny, a con artist in love with the singer Archana (phenomenally played by Sridevi). Rajinikanth delivers his best in both roles, but it is as Johnny that he allows his vulnerability to shine through. This is not the macho Rajinikanth we would later come to know in Tamil cinema.

Mullum Malarum (1978) was another glorious collaboration between Mahendran and Rajinikanth. Rajinikanth portrayed the rough-yet-tender Kali, a man who adores his sister but cannot bring himself to accept his boss (played by Sarath Babu) even though his sister is in love with him. No one else could have played Kali with such effortless perfection—whether struggling with the loss of his job, fighting his ego that prevents him from revealing his vulnerabilities to his boss, refusing to let his sister marry him, or finally allowing her to marry him when she returns. Kali is one of the most memorable characters in Tamil cinema.

Transition to rugged roles

In the 1990s, Rajinikanth transitioned to more rugged roles, portraying a hero who confronted villains and wrongdoers with unmatched strength. In 1995, Baasha, in which he plays the gentle Manickam who transforms into the tough Baasha after his friend is killed, became an iconic hit and remains one to this day. This shift perhaps emboldened Rajinikanth to consider politics. In 1996, he openly criticized Jayalalithaa’s regime, famously stating that not even God could save Tamil Nadu if she was voted back to power. Things might have unfolded very differently for both Rajinikanth and Tamil Nadu had he taken the plunge into politics in 1996. But that was not meant to be.

Until 2021, when he finally announced that he would not enter politics, Rajinikanth kept the speculation alive, frequently fuelling it, and at one point, even unveiled his vision of spiritual politics. While Rajinikanth was open about being a spiritual person, he mostly kept his spirituality separate from his cinematic endeavours, except perhaps on two occasions.

Also read: Rajinikanth congratulates Vijay on his "very successful" political conference

“Spiritual politics”

In 1982, Rajinikanth starred in Sri Raghavendrar, his 100th film as an actor. His portrayal of the saint Raghavendrar marked a departure from the intense, dynamic characters he is typically associated with. Despite the film’s lacklustre performance at the box office, Rajinikanth considered it deeply personal.

Exactly 20 years later, he ventured into another unconventional role, playing Saint Baba (2002) and his reincarnation in Baba. Both films, helmed by ace directors renowned for delivering blockbuster Rajini hits—SP Muthuraman for the former and Suresh Krissna for the latter—failed to resonate with audiences.

In hindsight, Sri Raghavendrar and Baba may have hinted at Rajinikanth’s political vision. These films perhaps shaped his concept of “spiritual politics”, an idea he believed could offer something novel in a state like Tamil Nadu. But it failed to resonate in Tamil Nadu's deeply pragmatic political landscape.

Over the years, Rajinikanth continued to drop hints about entering politics, embedding political undertones in his films and public appearances.

Recurring theme since 1990s

Rajinikanth’s connection to politics has been a recurring theme since the 1990s, with fans and observers eagerly analysing his film dialogues and songs for hidden messages about his political aspirations. In Rajadhi Raja (1989), he sang, “Enakku katchiyum venaam, oru kodiyum venaam” (“I don’t need a party or a flag”), sparking speculation about his intentions. In Uzhaippali (1993), he mused, “Nethikku oru coolie, inikku oru nadigan, nalaikku?” (“Yesterday, I was a labourer, today an actor — what about tomorrow?”), leaving fans wondering if he was hinting at a future in politics.

By the time Muthu (1995) came along, his on-screen lines only added to the intrigue. He declared, “Katchi ellam ippo namakku ethukku, kaalathin kaiyil athu irukku” (“Why would I need a party now? That’s up to time”), followed by the iconic statement, “Naan eppo varuven, epdi varuvennu yarukkum theriyathu. Aana vara vendiya nerathula correcta vandhuduven” (“No one knows how or when I’ll come, but when the time is right, I’ll be there”).

In Baba (2002), Rajinikanth leaned into this ambiguity even further. He said, “Katchigalai pathavigalai naan virumbamaatten, kaalaththin kattalaiyai naan marakkamaatten” (“I won’t desire parties or titles, but I won’t ignore the call of time”).

But when it came to making a decisive move, Rajinikanth was hesitant. The public’s initial excitement gradually turned into scepticism, and his failure to act diluted the impact of his statements. By the time he announced his intention to launch a political party in 2017, the momentum of 1996 was long gone. In 2021, he withdrew.

Also read: Vettaiyan actor Kishore: ‘Rajinikanth’s childlike innocence secret to his superstardom’

A cautionary tale

Looking back, Rajinikanth’s tryst with politics only stands as a cautionary tale. Despite his unparalleled charisma and mass appeal, his nebulous vision of “spiritual politics” and his inability to bridge the gap between cinematic heroism and political leadership revealed the stark difference between reel and real life. Tamil Nadu, a state long accustomed to high-stakes political drama, has since moved on, leaving Rajinikanth as a poignant reminder of how even the brightest stars can falter when stepping outside their realm.

But then again, Rajinikanth is Rajinikanth. As long as he’s acting, he’ll always be in the spotlight, commanding attention like no one else. And in doing so, he remains undeniably relevant. After all, how else could the heirs of a leader like S Ramadoss — who once vehemently opposed his movies for promoting smoking — end up having their debut production launched by him?