They’ve voted their favourite stars into politics, affected filmmakers to carbon cine endings, rioted with battling fans, died by suicide afterward the afterlife of a favourite actor. There’s a accurate affectionate of aberration to fandom in south India.
In Tamil Nadu and Karnataka, there are temples adherent to men such as MG Ramachandran and Rajinikanth. Pilgrim routes booty detours to canyon their homes. Bodies advertise ancestors jewellery to pay for cutouts so ample they concealment theatre buildings.
Even so, back Kannada amateur Puneeth Rajkumar died in October, age-old 46, and the Karnataka government banned the auction of booze for three days, ample genitalia of India were surprised. Was this absolutely necessary?
To those who lived through the canicule afterward the afterlife of Puneeth’s father, the allegorical superstar Rajkumar, it came as no surprise. The Karnataka accompaniment government bungled that break badly, as did the badge machinery, says Kannada blur historian N Manu Chakravarthy.
Rajkumar was Karnataka’s sweetheart and aboriginal superstar. Having starred in over 200 films from the 1950s to 2000, this was a man who was admired for apery all classes and castes, as able-bodied as apery Kannada ethics and virtues, on awning and off.
On the day he died in April 2006, age-old 76, bags descended aloft his home in Bengaluru and aggregate alfresco the Kanteerava stadium, breadth account had advance that his anatomy would be laid out in state. No arrange were fabricated to approach this grief.
Hours anesthetized afore the anatomy arrived. Back it did, the drove was so abundant that there was a near-stampede. Rioting bankrupt out. Vehicles were set on fire, theatres were vandalised. At atomic eight bodies died.
“So back it came to Puneeth, who was admired too, the accompaniment woke up,” says Chakravarthy. They banned booze from actuality awash in the state, acute security, and confused the anatomy to the Kanteerava amphitheater two hours afore the arise time. The day concluded in affliction but not chaos.
***
Across the four industries — Tamil, Malayalam, Telugu and Kannada — the stars approach beyond than in any added blur industries in the world.
In Tamil Nadu and Andhra Pradesh, fanclubs accept helped drive political careers. Superstars from Tamil Nadu’s MGR (MG Ramachandran) and Jayalalithaa to Andhra Pradesh’s NTR (NT Rama Rao) accept risen to be arch ministers of their states.
In Kerala, the chic over Mammootty and Mohanlal accountable filmmakers to blur two altered endings for the 1998 Malayalam blur Harikrishnans, so that anniversary of the two men would get the girl, depending on breadth you watched it.
As it is about the world, the era of this affectionate of superstardom is ending, except conceivably in Tamil Nadu, breadth a new bearing of superstars assume to accept emerged. The admirers itself has become added fractured, as speakers of added languages appoint with cinema from the south via alive platforms, alfresco the theatre system.
So the mega blockbusters that arise from the south are no best affiliated to the aforementioned baby set of names. The Telugu Baahubali movies (2015 and 2017) are now India’s best acknowledged authorization ever, raking in over ₹2,000 crore in all box offices about the world. Its stars, Prabhas, 42, and Rana Daggubati, 36, accept attempt to civic fame. But you don’t see the aforementioned affectionate of agitation about these men. The abutting you get to it is in Tamil Nadu, breadth Tamil cinema’s Vijay has apparent anniversary of his aftermost two films, Bigil (2019) and Master (2021), accompany in over ₹300 crore, and breadth he is conceivably as big as Rajinikant was in his prime (and still is).
“The authoritative of a superstar is affronted to the theatre space, breadth the acquisition takes abode and bodies are on their feet. The about-face to digital, claimed and calm modes of examination is not acquiescent to superstardom. And neither are the subtler narratives,” says blur analyzer CS Venkiteswaran. “Superstardom can alone abide aural a assertive accurate tradition.”
And so abounding of the megastars of south Indian cinema today are the megastars of yesteryear: Rajinikanth, 70; Chiranjeevi, 66; Mammooty, 70; Mohanlal, 61. These much-larger-than-life icons don’t generally arise in new films, but, in at atomic three of the four states south of the Vindhyas, no new names accept taken their place.
As their age draws to a close, booty a attending at the apple of the south Indian cinema fan, as they knew it, and as it is now.
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Kannada: Superstars and superfans
When Kannada amateur Rajkumar died in April 2006, Bengaluru came to a halt. Shops shut. Traffic thinned. Bodies austere out of the streets. It was an absolute bandh. Kannada cinema had aloof absent its bigger brilliant and the bodies were heartbroken. They additionally knew what was coming.
By evening, buses were actuality smashed. A badge car was set on fire. Bags aggregate alfresco the backward superstar’s home in Bengaluru. At the city’s Kanteerava stadium, breadth his anatomy accustomed hours after than announced, crazed admirers acquired a near-stampede. Those who couldn’t bolt a aftermost glimpse of him as his hearse larboard for his aftermost rites began barrage stones at the agent in frustration, as his son Shivrajkumar sat inside.
Eventually, the badge had to annihilate the crowds with their lathis, and tear-gas.
Rajkumar (given name Singanalluru Muthuraj) reigned for bristles decades and acted in over 200 films. His aboriginal roles are a acute abstraction in what admired him to the public. Historical, fabulous and amusing films were the basic of the time, and Rajkumar represented aloof about every demographic.
He played a Bedara affiliated in Bedara Kannappa (1954; generally alleged the aboriginal Kannada superhit because it ran for 100 canicule and won a Civic Award). He played the Sufi artist Kabir in Mahathma Kabir (1962); an upper-caste academician in Mantralaya Mahatme (1966); the ballsy demon of Hindu scripture Hiranyakashipu in Bhakta Prahlada (1967); a potter in Bhakta Kumbara (1974).
“It’s why Rajkumar became so important,” says Kannada blur historian N Manu Chakravarthy. “Because he upheld the Kannada ethics and ability of inclusivity. He emerged out of Kannada alertness and represented Kannada culture.”
Rajkumar’s breed acquaint a cogent account too. By the mid-1970s, there was Vishnuvardhan (1950 – 2009). “It was his role as an affronted adolescent man in Naagarahaavu that catapulted him to fame,” says Chakravarthy.
Vishnuvardhan didn’t comedy acceptable guys. In Naagarahaavu (Cobra; 1972) he is an affronted abecedary allure two women. In Gandhada Gudi (Temple of Sandalwood; 1973), he plays the villain to Rajkumar’s forest-officer hero.
But the admirers was changing. Cinema halls were blooming beyond the accompaniment and tickets were accepting cheaper. The banal and the adolescence were assuming up in ample numbers. And they accompanying to the acrimony and annoyance of the men Vishnuvardhan played. “Sort of like what Amitabh Bachchan was accomplishing on the civic stage,” says Chakravarthy.
Vishnuvardhan was in his mid-20s, Rajkumar in his 50s. “It created a affectionate of adverse figure,” Chakravarthy says. “The adolescence begin a articulation in this younger, added alienated figure. Which is back the aboriginal abhimanagala sanghas or fan associations were formed.”
The fan associations, absolute abundantly adolescent men, were concentrated in Bengaluru and Mysuru. They became belled for their “passion”.
“The Rajkumar admirers admitting were actual powerful,” Chakravarthy says. He recalls watching a adolescent man in Mysuru in the ’80s whose aeon was abounding of images and titles of his demigod Vishnuvardhan. “Rajkumar admirers got him off it and burst the cycle,” he says.
The ball accomplished agitation angle when, rather incredibly, Rajkumar was abducted by the dacoit Veerappan in 2000, and captivated for ransom. As the badge and accompaniment government rushed into action, schools were declared bankrupt and remained bankrupt for two weeks, booze was banned, the blur and television industries came to a halt. There are no bright annal of absolutely how, but his absolution was anchored 108 canicule later.
The band of the superstar lingers on in Karnataka, but there hasn’t been addition Rajkumar or Vishnuvardhan. The new bearing of stars such as Darshan, Yash and Duniya Vijay are still blowing men, consistently romancing admirable women on screen, acquisition absolute armies with their bald fists (or a machete), but they are not demi-gods.
If anyone came abutting to actuality one it was Rajkumar’s son Puneeth Rajkumar. He was admired additionally for architecture and advancement schools and his added works of philanthropy. Back he died aftermost month, age-old 46, letters began to do the circuit on WhatsApp advising bodies to break home. The Karnataka government issued a three-day ban on the auction of alcohol. Bodies were heartbroken, of course. But the affairs were fabricated in a appropriate manner; his anatomy accustomed at Kanteerava amphitheater two hours afore the arise time. Admirers bid bawling farewells, shops remained accessible and the burghal alternate to its day.
Malayalam: Two abandon to the ideal man
In 1998, the Malayalam blur Harikrishnans, starring Kerala’s darlings Mohanlal and Mammootty, was released. The story, about two high-profile attorneys who get complex in a annihilation case, was the highest-grossing blur of that year.
But here’s what’s absorbing about it: In some genitalia of Kerala, breadth Mohanlal admirers dominated, Mohanlal got the babe (Juhi Chawla) at the end of the film. In added parts, breadth Mammootty admirers ruled, a altered catastrophe was screened, and Mammootty got the girl.
Director Fazil appear two versions. (Though the abridge lath anon apoplectic screenings of the second; it had never been submitted for clearance. And any Harikrishnans book you see now will end with Mohanlal accepting the girl.)
The acute Mammootty-Mohanlal fan animosity has endured for about bristles decades, admitting the actors accept consistently been friends. Both men — Mammootty is 70 and Mohanlal is now 61 — are still kings of boilerplate Malayalam cinema. They’ve acted in hundreds of films, played gods and gravity-defying heroes, ancestors men and villains.
Trying to amount out who is bigger admired would be a abortive task. And yet, anniversary of the two men represents article starkly different.
“There is a affectionate of ambiguity to the blazon of adulthood Malayalee association prefers,” says blur analyzer CS Venkiteswaran. “An ambiguity amid a caring, accessible array of man who is flawed, and a dominant, masculine, adverse hero who takes charge. We alarm them the Rama and Krishna of cinema.”
It’s an ballsy duality that has played out in the accurate apple for generations. Afore Mammootty-Mohanlal, there were (on a far abate scale) Prem Nazir and Sathyan, in the’60s and ’70s. “Today, there is an adapter to Fahadh Faasil and to Prithviraj Sukumaran, and it is the aforementioned affectionate of ambiguity at work.” Faasil is the doe-eyed, affable indie angel arch the new beachcomber of films advancing out of Kerala. Sukumaran is the aloof boilerplate activity hero.
But in Kerala, the superstar era ends with Mammootty-Mohanlal. It is absurd that there will anytime afresh be the affectionate of chic those men enjoy. The affectionate of chic that reportedly acquired one changeable fan, for instance, to agenda a C-section so that her adolescent could accept the aforementioned altogether as Mohanlal (May 21, for anyone who’s wondering).
“The affectionate of narratives the new bearing of filmmakers are authoritative are not what brings stardom,” says Venkiteswaran. “They are not ambidextrous with absolute adult figures, which doesn’t acquiesce for such superstar abstracts to be born. Add to that the about-face to agenda and claimed calm approach of viewing, which is absolutely not actual acquiescent to superstardom.”
What the new stars do accept is greater civic appeal. Few admirers of cinema don’t apperceive or haven’t watched the works of Faasil (Joji, Kumbalangi Nights), Lijo Jose Pellissery (Jallikattu), Jeo Baby (The Abundant Indian Kitchen).
But two endings instead of one? Added like a altered catastrophe overall. “The superstars apperceive their era is over,” Venkiteswaran says.
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Telugu: Of emperors, demigods and Baahubali
The Telugu blur industry is one of the better in India. In 2015, it set a new almanac for that backpack back Baahubali: The Alpha became India’s highest-grossing blur ever. The blur has so far raked in over ₹600 crore. Baahubali 2 (2017) brought in thrice as much. The blur was dubbed in over ten languages and appear about the world. Its stars, Prabhas, 42, and Rana Daggubati, 36, attempt to civic fame.
But they don’t alert the affectionate of commotion that the Telugu fan of the yesteryear Telugu superstar commonly caused. For one thing, they don’t accept the affected titles.
Before he was arch abbot of Andhra Pradesh, for instance, NT Rama Rao had an alike rarer title: Viswa Vikhyatha Nata Sarwabhouma (World-Famous Emperor of Drama). And that wasn’t the best of it.
In a career that started in the ’50s and continued over 300 movies, NTR played a alternation of fabulous Hindu deities and kings. He attempt to acclaim with the ballsy Mayabazar (1957), in which he played Krishna. He would comedy the celestial addition eight times in his career. Alike that wasn’t the best of it.
After Sri Venkateswara Mahathyam (1960), in which he played the celestial Vishnu, pilgrims began endlessly alfresco his abode in Chennai for “darshan” on their way the Venkateswara Vishnu temple in Tirupati.
Andhra’s aboriginal fan clubs were NTR fan clubs, says SV Srinivas, Telugu blur academic and columnist of Backroom and Performance: A Amusing History of Telugu Cinema. “By the ’70s and aboriginal ’80s every aloft brilliant of the time, from NTR and Akkineni Nageswara Rao to Krishna and Chiranjeevi, had fan clubs.”
In the alpha they were abundantly unorganised, breezy groups. Again they started aggressive with anniversary added to see who could bless new releases the loudest, actualize the bigger cutouts, accomplish the best agitation on aperture day (people in delirium; aartis and coconuts; milk caked on posters). This antagonism occurred alike amid fan clubs committed to the aforementioned actor.
“A lot of the time, these clubs were about organised by caste, not by design, but because that’s how the groups would organically form,” says Srinivas. “And so there were instances of Dalit admirers in one club, and Reddy admirers in addition club, both Chiranjeevi fan clubs, and from the aforementioned area, but they advised themselves rivals.”
Telugu admirers are so almighty film-crazy that theatres in Andhra Pradesh and Telangana still accept what are alleged “benefit shows” for the bigger releases of the year.
“These are shows that are buried afore the aboriginal day, aboriginal show, so ancient about 2 or 3 am,” says Srinivas. “It’s a anatomy of fundraising for the clubs. Anniversary fan club gets a assertive cardinal of tickets, and theatre administration lets them to advertise these tickets at whatever amount they want. Some advertise for added than ten times their aboriginal value.”
Other elements of the fanbase’s ability remain. Filmmakers have, for instance, rewritten endings to allay affronted fans. Admirers were so black back the appearance played by Mahesh Babu, again a adolescent brilliant of 26 but additionally son of the admired amateur Krishna, died at the end of Bobby (2002) that the blur was aloof and re-released with a happier ending.
“There are belief of admiral activity underground because admirers didn’t like a film,” action Srinivas. “And while all this happens, if a blur doesn’t do well, anybody is abhorrent except the star. Sometimes it’s the accountability of the heroine, or the administrator brought bad luck. But if an amateur has accustomed superstar status, again he can do no wrong.”
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Tamil: Stars. CMs. Rajinikanth
Before the abnormality of Rajinikanth, there was MG Ramachandran or MGR, the filmstar with arguably India’s best agitated fan following. A appear 31 admirers died by suicide the day he died in December 1987, age-old 70; addition 40 to 100 cases of affliction were reported.
More than a actor lined the streets as his burial advance fabricated its way from his home in Chennai to the city’s Rajaji Hall, breadth it remained in accompaniment for two canicule as bags from beyond Tamil Nadu travelled to pay their respects.
MGR was Tamil cinema’s aboriginal megastar. It was his advance role as a king’s angelic accepted in the actual ball Manthiri Kumari (1950) that fabricated him a star. He played a alternation of acceptable guys over the abutting 20 years, and was apparent by audiences as embodying all the acceptable qualities he portrayed on screen.
Which apparently explains his accessible segue into backroom — MGR had been CM for 10 years at the time of his death. The alteration to backroom has back been attempted by adolescent Tamil superstars Rajinikanth (now 70) and Kamal Haasan (67) after abundant success, but was replicated by one of his arch ladies, Jayalalithaa (1948 – 2016), who served as arch abbot of Tamil Nadu for added than 14 years.
MGR set the arrangement for superstardom in his state. Tamil cinema was acutely abiding in the backroom of the Dravidian movement, says blur historian N Manu Chakravarthy. “MGR was a artefact of the DMK eyes of amusing justice. The antithesis to his benevolent hero persona was Sivaji Ganesan, who was not actual political but was popular.”
When Rajinikath stormed the screens in the 1980s and ’90s (he’d been acting back the 1970s but this is back he became a superstar), he brought article Tamil cinema had never apparent afore — the cigarette flip, the flicking of the sunglasses, the strut. “His appearance was different,” says blur historian Theodore Baskaran.
He had starred in several remakes of Amitabh Bachchan films: Shankar Salim Simon (1978) was a accommodate of Amar Akbar Anthony (1977), Naan Vazhavaippen (1979) was a accommodate of Majboor (1974), Billa (1980) was a accommodate of Don (1978).
Double roles and amateur roles followed, forth with Hindi films alongside Amitabh Bachchan and after Aamir Khan. His admirers took fandom to aberrant new peaks: there were belief of men demography loans on ancestors homes and gold to pay for behemothic cutouts of him to mark new releases.
“The fan clubs and their activities are on the decline,” says Baskaran. But they’re not gone. The new bearing of Tamil superstars such as Ajith, 50, Dhanush, 38, Vijay, 47, and Suriya, 46, additionally adore massive followings and loyalists whose lives circumduct about their lives, successes and absolution dates. There are crossovers into backroom too.
Recently, a apple panchayat acclamation was won by a accumulation that contested as All India Thalapathy Vijay Makkal Iyakkam or the All India Captain Vijay People’s Organisation.
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