Saravanan Natarajan writes:
Rajinikanth- The Journey to Superstardom- Part 1
• “Anna, do you really think I can carry it off? Will people accept me in the role?’’ was his hesitant, incredulous response when Director SP. Muthuraman and writer Panju Arunachalam summoned him to their office and explained the role they wished to cast him in in their upcoming project. However, with their convincing words of reassurance and encouragement, he accepted the offer with joy.
• SPM’s unit had in its rolls a strict taskmaster called Lakshminarayanan whose responsibility was to coach the actors on the dialogues and delivery. On the very first day, after a grueling session with Lakshminarayanan, he was suddenly found missing. A unit hand recalled seeing him walk past the gate. A search party was hurriedly organized and they managed to bring him back. “Anna, KB sir wouldn’t entrust me with these many dialogues for an entire film, and you want me to learn and speak these many lines for just one scene?” was his sheepish complaint. It was only after SPM’s pledge to split the scene into many small shots that he finally acquiesced.
• He was first disappointed, then intrigued and finally thrilled at the image makeover that this role entailed…all his famed mannerisms that had earned him a certain admiration among the youth were to be shunned; there would be no style, no swagger; no tricks with his cigarette, no fiddling with his shades; not even big collars or bell-bottoms!
• The unit was in Tada near the Andhra border for an outdoor shoot and he was part of it. Due to a sudden technical snag, the shoot had to be continued the next day. As it was an unanticipated stopover, hurried arrangements were made for the crew to stay on a terrace of a house and food was secured from a humble eatery. A car was to take him alone to Madras and bring him back in the morning, but he declined the offer. He slept with the rest of them on the open terrace and had no qualms in using the open-air toilet in the morning. With a glass of tea from a roadside shop, he proclaimed himself ready for the shoot!
Yes, the actor that I referred to above is none other than the Super Star, and the movie that we are talking about is ‘புவனா ஒரு கேள்விக்குறி’, a movie that Rajinikanth claims to have a secured a special place in his heart.
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மூன்று முடிச்சு (1976) followed thereafter, and here as the anti-hero Prasad, with complex shades of grey, Rajini stole the show acting alongside Kamalahasan and Sridevi. His stylish trick with his cigarette, the unconscious running fingers through his hair, even the gleeful ‘Teek hai?’ became the talk of the town. However, the more discerning did not fail to observe that he brought a rare dignified empathy to evil- watching calmly his dearest friend Balaji (Kamal) drown and die and seducing the hired help was attributed, not due to any inherent malevolence, but to his overwhelming infatuation with Selvi (Sridevi). And his defiant battles with his conscience (played by his friend (Nataraj) revealed the substance hidden behind the style. Incidentally, the singer who sang for Rajini his first ever song in Tamil was none other than MSV:
https://www.youtube.com/watch?v=f3WlSlTlAvk
What followed next was another celluloid classic- a heartwarming tale of a woman and the three men who cross her lives- ‘அவர்கள்' (1977). While the honors were undoubtedly with that stunning artiste Sujatha, with Kamal winning accolades as well for his portrayal of the lovable Jana, the dark horse here was Rajini, playing with aplomb the suave Ramanathan with a sadistic streak. He was simply outstanding in the latter half when he convinces not only Anu but even the audience of his turning over a new leaf. And the moment when he displays his cards is a revelation that is truly unnerving. A polished villain such as this was seldom seen in Tamil cinema!
Though Rajini found meaningful roles come his way in Telugu- KB’s Anthuleni Katha (அவள் ஒரு தொடர்கதை where he played Jaiganesh’s role) and Eranki Sharma’s Chilakamma Cheppindhi (which KB remade in Tamil as நிழல் நிஜமாகிறது- Rajini played in Telugu the role played by Kamal in Tamil), all he could manage in Tamil after Avargal was an insignificant role in ‘கவிக்குயில்’ and 'ரகுபதி ராகவ ராஜாராம்' both which did not do much to further his career. It was then that SPM approached him with this tantalizing offer….
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N.S. Mani, who had worked for years as a production executive at AVM, was now desirous of turning a producer. He floated a company called ‘MAM Films’ and approached his old friend SPM to direct the first film under this banner. SPM agreed happily, and along with Panju Arunachalam, set about scouting for a suitable story. It was at that time that Thirulokachandar had come out with a successful movie adaptation of ‘பத்ரகாளி’ a novel by writer Maharishi. Enthused by this, SPM and Panju picked another story of Maharishi called ‘புவனா ஒரு கேள்விக்குறி.’ They traveled to Salem and obtained the permission of the famed writer.
The story revolved around 2 friends- Nagaraj and Sampath who are street vendors of clothes in Nagercoil. Friends they sure are, yet their characters are a study in contrast. While the good-looking Nagaraj is ambitious and determined on making it big, Sampath is content to let life pass by and revel in the love of his Raji. Nagaraj is an incorrigible philanderer and has no qualms about casting aside the woman after having his fling. Sampath’s happiness is shattered when Raji dies while trying to escape from a chasing bull. His suicide bid is thwarted by Nagaraj, who promises to take care of him. Sampath takes to drink and his is now a wretched, aimless existence. His decision to marry the innocent Bhuvana who has been cheated by Nagaraj, knowing well that she is carrying Nagaraj’s child and the inexplicably beautiful relationship blossoms between the uncouth alcoholic and the unwed mother, a relationship that hovers so tantalizingly over a platonic plateau and the arresting climax with the tragic end form rest of the story.
Panju Arunachalam and SPM worked on Maharishi's story, with spectacular results. The story itself was fascinating, with interesting twists. The perspicacious duo pulled off a casting coup by picking Sivakumar to play Nagaraj- the wolf in sheep's clothing and settled on Rajinikant to act as Sampat, the sheep in wolf's clothing…. (அந்த புதுசா வந்திருக்கிற பையன் வில்லனா நல்லா நடிக்கிறான்.....அவனைத் தூக்கி 'புலித்தோல் போர்த்திய பசு' ஹீரோவாகப் போட்டு வித்தியாசப் படுத்துவோம்! ).
It was indeed a daring risk, as Sivakumar, with his charming looks, had never been cast in a negative role until then. And as for the upcoming Rajinikant, he had mainly made a mark as a villain until then. S.P. Muthuraman, in his memoirs, recalled how Sivakumar was taken aback when told of the role he was to play. However, Sivakumar soon perceived the novelty of the casting, and though well aware that the sympathies of the audience would be entirely with Rajinikant’s role, came on board with sporting alacrity.
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“There is a tide in the affairs of men. Which, taken at the flood, leads on to fortune”
- William Shakespeare (Julius Caesar)
Though initially hesitant, Rajini could sense that this was the opportunity that he had been waiting for; he had resigned himself to playing the stylish villain forever and the role of Sampath was indeed a godsend. It was a complex character to play though; Nagaraj, for all his evil, was not shown as indulging in any outward vices. However, Sampath, with all his integrity and selflessness was portrayed as a chain smoker and an alcoholic, with a scruffy appearance in most of the proceedings. That he was essentially a good human being was to come out only how convincingly Rajini could carry this off. And by God, he did!
The early sequences in which he serenades his beloved Raji and the wails that spring from his heart when she dies in his arms set the tone for the brilliance that is to follow. How he constantly advises Nagaraj, in even a drunken stupor, to mend the error of his ways is truly endearing. The resoluteness with which he comes forward to marry Bhuvana continues in his scrupulous respect for the curtain that is drawn between them.
The conversations between Sampath (Rajinikanth) and Bhuvana (Sumitra), for me, form some of the finest moments of Tamil cinema. Appearing for most part in crumpled, casual clothes with a bedraggled beard, Rajini’s depiction of Sampath- his anguish, his disappointment at destiny’s dealing, his listless life bereft of any hope, his feelings for Bhuvana, his longing for a normal marital life, his love for the child who is not his…each glance, every gesture, each word uttered is so natural and heartwarming. And in a scene when you think he is going to tear open the wretched curtain that separates him and Bhuvana, he goes and draws the curtain to cover the doorway fully! Rajinikanth, the actor, was a spectacular revelation!
Sivakumar writes in his memoirs- 'சார்! அநியாயமா ரஜினிக்கு அந்த வேஷத்தை விட்டுக்கொடுத்து அவரைத் தூக்கி விட்டுட்டீங்களே!' என்று சில சினிமா உலக நண்பர்களும் ரசிகர்களும் அங்கலாய்த்தனர். அவர்களின் அறியாமையை நினைத்து மனத்துக்குள் சிரித்துக்கொண்டேன். 'ஒரு மனிதன் எவ்வளவு உயர வேண்டும், எப்படியெல்லாம் அல்லல்பட வேண்டும் என்பது இறைவனால் ஏற்கனவே தீர்மானிக்கப்பட்டவை. என்னதான் கடுமையாக உழைத்தாலும், நமக்கு என்ன விதிக்கப்பட்டதோ அதுதான் நடக்கும். ரஜினிக்கு புகழ் கூடியே ஆக வேண்டும் என்று எழுதப்பட்டிருக்கும்போது யார் தடுத்தாலும், எவர் பொறாமைப்பட்டாலும் அவர் உயர்வைத் தடுக்க முடியாது.' என்றேன்.
Besides winning critical accolades, the film, released on 2 September 1977, was a commercial success as well, running for more than 125 days.
Ilaiyaraja composed 3 songs for the movie, two of which were filmed on Rajini. While the gorgeous ‘விழியிலே மலர்ந்தது’ deserves a page for itself in the annals of Tamil film music, it is the haunting ‘ராஜா என்பார் மந்திரி என்பார்’ that is the tagline, the theme song of the movie. True, Panju Arunachalam, Ilaiyaraja, SPB & Janaki usher in the enticement, but it is Rajini onscreen, with his understated performance- his sardonic shrug at his solitude and his frustration with his meaningless life, who bequeaths upon the song the boon of immortality.
https://www.youtube.com/watch?v=aoBCEV-faes
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Thus, it was this seldom spoken of ‘புவனா ஒரு கேள்விக்குறி’ that was the first stepping stone to the evolution of the actor Rajinikanth. I can recall even now our helper at home at the time, Kasturi, going to watch the movie at a Kamadhenu re-release and coming back home with her eyes still moist. At our pleas to relate the story, she narrated in in full- the awe in her tone when she spoke of Rajinikanth and his portrayal of Sampath is fresh in my mind. Of course, at that age, we could not understand the nuances of the story. Nor could I appreciate the movie when it was screened in Doordarshan a few years later... Where was Rajini's famed style? Even ஆடுபுலி ஆட்டம், சங்கர் சலீம் சைமன் and குப்பத்து ராஜா seemed more attractive then. And of course, there was நினைத்தாலே இனிக்கும். நினைத்தாலே இனிக்கும்!
It was only during my college years, when I rented the VHS cassette of the movie (for the songs), that I could perceive the magnificence of the movie- the engrossing story, interesting characterizations, hard-hitting dialogues, alluring songs and the stupendous performance of Rajinikanth so early in his career filled me with respect for all involved and indeed admiration tinged with veneration for Rajini. I just wished that SPM ( and Panju) had been valiant enough to change the ending....imagine the end with Bhuvana tearing down the curtain and inviting Sampath to step in....
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While it cannot be denied that SPM was responsible for many of the commercial potboilers that entrapped Rajinikath in a hollow of inanity in the following years, it behoves posterity to remember that the same SPM also indulged the actor in Rajini in off-beat ventures such as ஆறிலிருந்து அறுபது வரை, எங்கேயோ கேட்ட குரல் & ஸ்ரீராகவேந்திரா, and even within the confines of commercial cinema in movies such as ராணுவ வீரன், நெற்றிக்கண், புதுக்கவிதை and நல்லவனுக்கு நவ்லவன்.
In the months following புவனா ஒரு கேள்விக்குறி, the actor in Rajini was nurtured and sculpted in some meaningful roles with fascinating shades that came his way- my favorites from that period are the innocent and loyal Mookayain who turns vengeful when he understands the true colours of his master (பைரவி), the sophisticated Murali who gives up his fiancé to his bosom friend (இளமை ஊஞ்சலாடுகிறது), the honest, god-fearing Sundaresan who is forced into various vices due to the avarice of his wife (சதுரங்கம்), the ruthless thug Devu who finds happiness in the love of a prostitute(தப்பு தாளங்கள்), the incorrigible flirt Thyagu who shrugs off with a smile the stinging slap that he get from his subordinate (அவள் அப்படித்தான்) and the best of them all, the glittering jewel in the crown- the iconic Kaali (முள்ளும் மலரும்)- easily among the most realistic characterizations that ever found place in Tamil Cinema.
Yet, it was the success of movies such as ப்ரியா, தாய் மீது சத்தியம், தர்மயுத்தம், நான் வாழவைப்பேன் and அன்னை ஓர் ஆலயம் that mattered more in the commerce-centered corridors of Kodambakkam; Rajinikanth- the actor was all fine, but it was Rajinikanth- the Superstar who would set the cash boxes jingling….
And to reminisce on the movie that ensured that halo, I pass on the baton to my friend Tiruchendurai Ramamurthy Sankar...
Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1814146561950395/
