The magnificent Rajini Sir seems unable to avoid being the embodiment of mythology. Recently, he has been equated to the Trojan Horse from the Odyssey, suggesting that his appealing Dravidian cinematic persona may be packed with a BJP / Arya Samaj political intent, waiting to be let in past the Dravidian gates of Tamil Nadu governance. Now, with his own Mahabaratha reference in the context of the Modi government’s move to revoke Article 370, he has been equated to Abhimanyu the warrior son of Arjuna. In an open letter to Rajinikanth Arun Ram, Resident Editor, of the The Times of India, Tamil Nadu, writes, ” I am happy that you have found your Krishna and Arjuna in Amit Shah and Narendra Modi, though you are not sure who is who. That’s fine, as long you realise that you are the Abhimanyu the BJP badly needs in Tamil Nadu.”
Abhimanyu is the son of Pandava champion Arjuna and nephew of the Lord Krishna himself. At the tender age of 16 he was the most powerful, and perhaps vainglorious, of warriors. But despite wreaking havoc on the Kauravas in the battlefield he is killed and his role in the plot of the Mahabaratha seems to be much more as a catalyst of victory than as a victor. You see, his father Arjuna is ambivalent about using his powers to destroy the enemy. The Kauravas are after all the cousins of the Pandavas! With the killing of his beloved son, however, Arjuna is personally afflicted and is open to the martial wiles of the masterful Lord Krshna.
Abhimanyu was a dispensable element in the plot of the Mahabharata. I hope Rajini Sir will avoid the pitfalls of personifying such figures from Indo Aryan mythology as the dissembling Trojan Horse and the tragic Abhimanyu, on the political battlefield of Dravida Nadu.
In the 3rd and concluding performance for the Pavilion Without Pavilion, Bangkok Biennale 2018, I made an impromptu photographic action on the 3rd of September at Wat Arun. This action was premised on the conflation of two gargantuan Dravidian icons that have attained global currency, Demon King Thotsakan (Dasakantha or Ravana) and contemporary SUPERSTAR Rajinikanth. They are both unquestionably giants of global Indic culture, one from the historiographical past of Farther India and Suwannaphum, and the other from the more immediate realm of Kollywood.
The SUPERSTAR hoardings are back. Kaala, the ‘man in black’ is walking tall on cinema walls all over Chennai. It seems that PA Ranjith’s second collaboration with Thalaivar is doing fine at the box office regardless of controversies in Thoothukodi and in Karnataka. There were relatively poor advance bookings and even now there are mixed reports about the first days takings but at least one heralds an all-time record take across Chennai cinemas and cineplexes of 17,000,000 rupees which is over 250, 000 USD. Reviews suggest that Director has struck a better balance between the SUPERSTAR persona and the serious social and dramatic ambit of his work. Ranjith is an outspoken champion of the left in Tamil Nadu. By left I mean Periyar’sDravidian movement, whose colour is the black of Kaala, and Ambedkar’s Dalit movement, whose blue is equally prominent in the film. While the pairing of actor and director pairing holds up well in the fictions of Kabali and Kaala, there are signs however that this unity of actor and auteur is unraveling. How Rajinikanth will square this new politicized SUPERSTAR persona with his, apparently not so slightly saffron tinged (saffron being the colour of the Hindu right) real life ‘spiritual politics’ remains to be seen ….