Tag Archives: Rajnikanth

Lingaa (India 2014)

Rajinikanth as the Raja in 1939

Rajinikanth as the Raja in 1939

On December 12th Lingaa was released on 4,000 screens worldwide. This release by one of global cinema’s biggest stars was not mentioned by the mainstream press in the UK. The film begins with the legend ‘Super Star . . . Rajni’. And there is no other superstar quite like Rajnikanth (also spelt Rajinikanth), here with a new film on the very day of his 64th birthday. Hospitalised a couple of years ago, Rajni has returned in 2014 with two films. After the ‘motion capture’ film Kochadaiiyaan comes this classic masala film in which Rajni, under layers of make-up and accompanied by a swarm of body doubles, plays two roles as he did in Endhiran, dancing and performing stunts as of old.

Lingaa is interesting for several reasons, not least the marriage of traditional Indian popular film conventions with extensive CGI and some self-reflexive jokes about Rajni himself and this kind of audience-pleasing film. In fact, many of the Indian reviews make the point that the film is as much about Rajni as about the character he plays – at one point the character blows out a candle on his own birthday cake. How many stars are able to co-ordinate birthdate and release date like this?

The narrative involves a contemporary crisis moment for a group of villages near a huge dam in the hills around Madurai in Tamil Nadu (although the film was shot in Karnakata). A devious local politician has a plan to destroy the dam for his own purposes. If I’m not quite clear how this is supposed to work, blame Cineworld’s projection standards since for the first 15 minutes or so the English subtitles weren’t properly on screen and I could only read the occasional line. But just as I was resigning my self to three hours of guesswork, the problem was solved. The elderly village guardian of the temple announces that the only way to defeat the politician’s plans is to find the grandson of the Raja who built the dam during 1939-44 and who locked the temple gates when he was driven out by the British. (The temple was built to protect the dam and at its centre is a lingaam – a phallus) Unfortunately, the grandson has become a sophisticated criminal specialising in heists and he is disinclined to recognise the grandfather who in his opinion condemned the family to poverty.

The grandson is found and persuaded to return to the village and a long flashback details how and why the dam was built. In the final section the grandson saves the day. Both grandfather and grandson are played by Rajni with two different (but visually similar) young female leads playing the modern village girl who is a reality TV presenter (Lakshmi – Anushka Shetty) ensnaring the criminal and the 1939 village girl who helps Lingeswaran to build the dam (Bharathi – Sonakshi Sinha). Rajni reportedly said that dancing with the two much younger women was more difficult than the action scenes, but his unique personality comes across even through the layers of make-up and hair pieces.

Rajini minus the make-up with his two leading ladies, Anushka Shetty (left) and Sonakshi Sinha at the audio launch for the film.

Rajini minus the make-up with his two leading ladies, Anushka Shetty (left) and Sonakshi Sinha at the audio launch for the film.

If Lingaa is subjected to too much scrutiny it doesn’t hold up. There are numerous ‘mistakes’ in chronology and the casting of the evil young British collector (and the other British roles) doesn’t work at all. But the film is enormous fun and it has great vitality. In the trailer below you’ll spot the musical numbers that play with scenes from Mission Impossible and Pirates of the Caribbean. The modern day criminal has a small group of henchmen/stooges and I was constantly reminded of 1940s Hollywood and the Bing Crosby/Bob Hope ‘Road films’. At one point one of the stooges demands that the action be speeded up as “there is another show coming on soon” (Lingaa runs to over three hours with its Intermission). At another point there is a joke about A.R. Rahman’s music. Unfortunately, I don’t think this is one of Rahman’s best scores but perhaps it will grow on me.

Lingaa has first appeared in Tamil and Telugu versions, the two biggest South Indian language cinemas which together rival Hindi cinema. The Hindi version will appear on December 26. Overall this will be the biggest pan-Indian release of 2014. Rajni also has a large fanbase in South-East Asia as well as the diasporas in Europe and North America. He is also well-loved in Japan. The film has been generally well-received as good value entertainment. But it does also have some interesting political statements. A highlight is the speech that the Raja delivers to the workers from the villages after British attempts to undermine progress. He exhorts them all as Indians, irrespective of caste or creed, to work together for India, a potent message during the Second World War and the rise of the Independence movements. This same message crops up during an attack on a train carrying Lingeswaran during his earlier period as a British Collector (he is a Cambridge-trained engineer and a senior member of the Indian Civil Service). The attack has echoes of Zhang Yimou’s wu xia films – The Curse of the Golden Flower).

Most of all Lingaa is about Rajni and the fans are already turning out in their droves. Early reports are that the film has joined the ‘100 crores club’ after just 3 days worldwide. (That’s around £10 million if my arithmetic is correct.)

Rajnikanth is one of the Indian cinema stars featured in Chapter 10 of The Global Film Book which also discusses the previous Rajni starrer Endhiran.

Official trailer (Tamil version):

Thalapathi (The Leader, India 1991)

Rajnikanth

Rajnikanth

Even watching this classic Mani Ratnam film on a terrible DVD with a degraded image and Hindi dubbing couldn’t diminish its power. Thalapathi represents the ultimate in Tamil Cinema during the early 1990s. Director Mani Ratnam, composer Illayaraja and cinematographer Santosh Sivan combine to present the superstars of Tamil and Malayalam Cinema, Rajnikanth and Mammootty in an epic gangster melodrama.

The outline narrative is based on the Indian epic narrative the Mahābhārata. I can’t pretend to be able to explain how the connection is made, but it is mentioned by several commentators. The film’s plot sees a teenage mother abandon her newborn baby during the Holi festival. The baby is later found by children and eventually brought up by a woman in a poor community. Twenty-five years later, the abandoned baby is now a man, a child of the community and fast becoming its protector and moral conscience. This is Suraj/Surya (Rajnikanth). In defending a woman, Surya beats up man who eventually dies from his injuries. The dead man worked for the local crime lord Devaraj (Mammootty), who recognising his qualities recruits Surya. The two soon become very close, saving each other’s lives at various points and gaining control in a community who fear the (corrupt) police and the threat of rival gangs. Devaraj and Surya are criminal and violent in retribution but they support the members of the local community. Surya becomes the man to go to for help – the ‘Thalapathi’ of the community.

The new power regime is then threatened by the arrival of a new District Collector, a young man (played by Arvind Swamy, later to star in Roja and Bombay) who is determined to ‘clean up’ the city. It is at this point that all the coincidences of melodrama come into play. Everyone turns out to be related to one of the other characters in some way and cross-loyalties are inevitable. At the centre of everything is Surya’s hurt at still being an ‘abandoned son’. (He rationalises the action of the mother he has never known by saying that he was a ‘black baby’ that she didn’t want.) ‘Mothers’ become important characters in the narrative, both in a functional and symbolic way. The audience knows that the narrative can only be resolved by violence and death. (The connection to the epic is partly in relation to the cross-loyalties to friends and families.)

The high melodrama is played out in terms of music, compositions, colours and highly choreographed dance and fight sequences. I confess that in the first half of the film, I found Surya’s excessive violence to be deeply disturbing. It occurred to me that the character was rather like Clint Eastwood’s Dirty Harry – a fascist cop who was morally right but prepared to break every law and to punish the bad guys. I still thought this in part two but as the melodrama intensified, it did become more understandable if not more acceptable.

The real value of the film for me was simply to see Rajnikanth in action. This is his only Mani Ratnam film which seems a surprise. I can see why he is a superstar. He exudes charisma despite lacking the pale features, aristocratic face and toned body of so many Bollywood male leads and in this film sporting a mane of seemingly back-combed hair. Like the beefy moustachioed Mammootty, he could only be a superstar in the South. There is something warm and vulnerable about him. He cries and comforts small children quite naturally – and a moment later beats opponents to a pulp without blinking.

I’m wondering now whether I can bring myself to watch Mani Ratnam’s earlier Nayakan, another gangster epic starring the other Tamil superstar, Kamal Hassan. Like Thalapathi, this sees a working-class boy take on rival gangsters and the police in another massively successful film. But the DVD that I rented looks unwatchable, so perhaps I’ll look for a better copy.

Tamil film in the UK Top Ten

The Top 10 films in the UK for the weekend of June 16/17 included two Indian films. At No 6 the Hindi film Jhoom Barabar Jhoom registered a screen average of over £5,000 from 47 screens. There is nothing unusual about this as Hindi films regularly feature in the Top 10. However, at No 9 Sivaji represents what I think is the first Tamil (i.e. ‘made in Chennai’) film to register. Not only is it in the Top 10, but from only 12 screens with a screen average of over £14,000 it was easily the best earner of the weekend, beating all the Hollywood blockbusters. I rate this the most surprising result I’ve seen in many years of logging the chart.

Sivaji stars the veteran (57 year-old) superstar Rajnikanth in a story about a software engineer who returns from America to attempt to set up a hospital for the poor. IMDB lists the film as being partly shot in all four South Indian languages: Tamil, Kannada, Telegu and Malayalam. Distributor Ayngaran is the only outlet for South Indian movies in the UK and it must be delighted by its success, which as far as I can see is based on screenings in Cineworld cinemas in London. I confess that the movie sounds like it will not necessarily be attractive to UK audiences not steeped in South Indian culture and it is possibly not subtitled. Nevertheless, this is a breakthrough in revealing to UK film pundits that actually South India produces more films and sometimes has bigger audiences than the Hindi film industry based in Mumbai (i.e. ‘Bollywood’).

Sivaji opened in 15 territories worldwide and the diaspora audiences in Malaysia and elsewhere propelled to number 15 in Screen International‘s worldwide chart.