The Koboi had been developing his look after the SUPERSTAR’s image in Kaala (to will be released worldwide on June 7th) for his performance at Courtyard Hiroo, Tokyo at 7 pm on 11th May 2018 I am a fan of Rajinikanth and, as such, I relish the simple pleasure of ‘being’ the Thalaiva. I am, however, also cognizant of the aesthetic and critical connotations of my play. What is the measure of similitude – how much ‘looking like’ does it take to ‘look like’ or signify another person or persona? What is the threshold of sufficiency? Is such similitude founded on ethnic, even ethnocentric, notions of identity? What is the inner dimension of such a representation? How does one actually form a meaningful image of another? When does homage become piracy? Is this a pastiche or a parody, and if it is a parody – what is it a parody of? What, is the difference between a popular and a fine art image in the contemporary taxonomy of the arts?
Most pertinently, Kaala may be the last of my easy and heartfelt appropriations of the SUPERSTAR’s image as, having launched into politics in Tamil Nadu, Rajinikanth has now placed himself in a different context of signification. Unlike his long-time colleague in the Movie business, and now political co-aspirant, Kamal Haasan, who has clear secular leanings, Rajinikanth’s avowed ‘spiritual politics’ seems to be taking on the pungent saffron hues of Hindutva (the Hindu Right)!.
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