IN the mesmerising world of cinema, where dreams come to life on the silver screen, a curious intersection between art and adoration emerges: the phenomenon of idolising actors.
As the glittering lights of the entertainment industry cast their enchanting glow, the line between appreciating an artist’s craft and elevating them to the pedestal of idols becomes increasingly blurred.
Just as ancient cultures revered deities and icons, modern society is often drawn to the larger-than-life personas of actors, mirroring a timeless human inclination towards idol worship.
Superstar Rajnikanth, the unrivalled recipient of adoration and worship from his ardent South Indian fans, now finds himself in an unfamiliar role in his latest movie that is storming the box office.
I fail to understand such blind following, even though I, too, am a fan of Rajinikanth.
Like the transition of seasons, his prominence has waned, and his latest movie titled Jailer, lays bare this new reality.
In this cinematic tale, he assumes the persona of a retired law enforcer turned avenger. A father driven by the tragic loss of his son, he casts aside the very principles he once instilled in his own flesh and blood – honesty and integrity.
The corridors of justice he once defended with unwavering dedication are now tread upon for personal vendetta, a conundrum veiled in its enigma.
The plot, entangled within the paradox of its own making, illuminates the intricate dance between virtue and vice, leaving us to contemplate the kaleidoscope of contradictions that colour our human nature.
Catering to the voracious appetite of contemporary movie enthusiasts, those who relish the spectacle of crimson cascades as lives intertwine in ruthless conflict, this film emerges tainted with a stark reality.
It is a canvas that exposes the unsettling underbelly of the director’s ambitions, stretching to extremes in their bid to satiate the thirst for brutality among Indian cinema-goers.
The screen itself seems to bear witness to this unholy alliance between directorial intent and the insatiable yearnings of the audience, manifesting as a cinematic creation marred by the unapologetic exhibition of gore and violence.
In 2016, I reviewed Rajinikanth’s movie Kabali and my opinion remains unchanged: he seems past his prime for the cinema. His energy is lacking, not delivering the Rajinikanth we anticipated.
It may be best for him to retire gracefully. Dominating the screen does a disservice to the audience, except for hardcore Rajinikanth fans who may enjoy it.
It is time for a bow, both for the sake of moviegoers and his legacy.
Rajinikanth, often referred to as “Thalaivar” (meaning leader or boss), holds an iconic status in South India that borders on reverence similar to that of a demigod.
Reasons are aplenty, ranging from his film legacy in the industry spanning decades and covering a wide variety of genres to his ability to effortlessly transition between roles, from a hero to an anti-hero, and his unique style of delivery, which has left an indelible mark on the cinematic landscape.
Additionally, Rajinikanth’s on-screen persona resonates deeply with the masses. His larger-than-life presence, flamboyant style and charismatic dialogue delivery have made him a symbol of power and heroism.
In person, despite his massive stardom, Rajinikanth is known for his humility and down-to-earth nature, where he maintains a simple lifestyle and remains connected with his roots, and is spiritually inclined.
Just like the star of yesteryears MGR (M. G. Ramachandran), Rajinikanth’s philanthropic activities have earned him respect beyond his acting career.
His contributions to various social causes, including education and healthcare, have endeared him to the public.
All these factors and much more have contributed to Rajinikanth’s status as a revered figure in South India.
His impact on both the film industry and the cultural fabric of the region has solidified his position as an almost mythical figure, evoking admiration and devotion from his fans.
Having said that, India’s penchant for celebrating and idolising cinema heroes and heroines may seem out of sync with the 21st century’s changing social dynamics and values.
The exuberant admiration directed towards these figures can be viewed as a complex mix of tradition, entertainment and cultural norm.
In essence, while the flamboyance surrounding cinema heroes and heroines may appear somewhat incongruous with the evolving values of the 21st century, it is essential to approach this topic with nuance.
India’s relationship with its film industry is deeply rooted in culture, tradition and the need for entertainment.
As societal attitudes shift, the portrayal of cinema stars may align more closely with the changing expectations and values of the times. The phenomenon of idolising individuals, including figures, such as Rajinikanth, can indeed be viewed through the lens of misplaced interests and priorities, especially in today’s context.
Why?
Because elevating cinema stars to the status of idols can divert attention away from pressing societal problems, such as poverty, education, healthcare and social inequality.
Focusing on the glamour and persona of a celebrity may overshadow the need for collective efforts to address these issues.
Furthermore, idolising celebrities can perpetuate superficial value systems centred around appearances, wealth and fame. This can impact people’s self-esteem and aspirations as they may prioritise external attributes over more substantial qualities, such as character, empathy and integrity.
I think the movie’s success at the box office is attributed solely to the superstar factor. Yet, in an era marked by overtones, values and pressing global challenges, the need to re-evaluate this inclination takes centre stage.
It beckons us to reflect upon whether the fervent adulation bestowed upon screen idols aligns with the evolving priorities and aspirations of our interconnected world.
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