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Kamal

Kamal Haasan (born 7 November 1954) is an Indian actor, filmmaker, playback singer, choreographer, and politician known primarily for his extensive career in . He began acting as a child artist at age five in the 1960 film , earning a President's Gold Medal, and has since starred in over 270 films across , , , , , and other languages, often portraying complex characters that showcase his versatility in and stunt performance. Haasan's contributions to Indian cinema include writing, directing, producing, and choreographing films, with notable works like Nayakan (1987) and Hey Ram (2000) earning critical acclaim for their narrative depth and technical innovation. He has received four National Film Awards, including three for Best Actor, along with nine Tamil Nadu State Film Awards, four Nandi Awards, and 19 Filmfare Awards South, recognizing his influence as a multifaceted artist dubbed "Ulaganayagan" (Universal Hero). In 2018, he founded the Makkal Needhi Maiam political party to promote rationalism and social justice, contesting elections and allying with regional coalitions, though facing electoral setbacks. His public statements have sparked controversies, including a 2025 dispute over claiming derived from , prompting backlash, police complaints, and calls to ban his film in , as well as criticism for remarks on perceived as undermining tradition. These incidents highlight tensions in his advocacy for linguistic and cultural amid regional sensitivities.

Early life

Family background and childhood

Kamal Haasan was born Parthasarathy Srinivasan on November 7, 1954, in , , , , into a middle-class family. His father, D. Srinivasan, worked as a criminal , often engaging in advocacy that highlighted rhetorical and performative skills in courtroom settings, while his mother, Rajalakshmi, managed the household. The family consisted of five children, with Haasan as the youngest sibling; his older sister, Nalini (born 1946), pursued training as a classical dancer, reflecting the household's emphasis on traditional arts. For unspecified reasons, Haasan's name was later changed to Kamal Haasan. The family's relocation from to Madras (now ) occurred during Haasan's early years to support the education of his siblings, where he completed his primary schooling. This move immersed him in an urban environment conducive to cultural pursuits, with early exposure to fine arts and through familial influences. Haasan's initial forays into were shaped by rigorous training in classical dance forms, beginning around age 11 or 12 under family-guided tuitions, including and later explorations like , which instilled discipline amid academic challenges. These experiences, rooted in the structured dynamics of a household prioritizing tradition and skill acquisition, laid foundational patterns of perseverance and artistic inquiry without notable material hardship.

Entry into cinema

Kamal Haasan entered the film industry as a child artist at age six in the 1960 Tamil romantic drama , directed by and produced by , portraying the role of Selvam, the adopted son of the protagonists played by and . He was brought to producer A. V. Meiyappan's home by a visitor for an impromptu audition, during which Meiyappan tested his expressiveness by shining a lamp on his face; Haasan's natural reactions and poise secured the part, highlighting an entry facilitated by personal networks yet grounded in observed aptitude. The film, released on August 12, 1960, earned Haasan the President's Gold Medal for Best , along with a of ₹500. Throughout the 1960s, Haasan's screen appearances remained limited to occasional roles in , such as in Parthal Pasi Theerum (1961), alongside early ventures in modeling that honed his performative instincts without establishing steady employment. This phase reflected a gradual immersion rather than intensive commitment, allowing time for formal schooling in Madras, where family encouragement steered him toward arts and theater. By the early 1970s, Haasan shifted toward mature characterizations and production involvement, taking a as Jesus Christ in the devotional film (1971), directed by K. Thangappan—his dance mentor—while assisting in direction. This underscored his budding interest in multifaceted contributions to , bridging artistry with technical proficiency ahead of lead opportunities.

Film career

Child roles and breakthrough (1960s–1970s)

Haasan began his acting career as a child artist in the Tamil film (1960), portraying a young boy at the age of five, for which he received the National Film Award for Best Artist. His output remained limited during the , with appearances in approximately five films including supporting child roles in Parthal Pasi Theerum (1962) and (1962), as he prioritized formal education over extensive filming. In the , Haasan transitioned to adult supporting and lead roles, appearing in around 16 films across and other South Indian languages, marking a shift from juvenile parts to mature characterizations. His breakthrough as a leading man came with (1975), directed by , where he played a rebellious in a controversial inter-generational romance, earning the – . The film received positive critical reception for Haasan's nuanced performance and Balachander's bold narrative, establishing him as a versatile actor capable of techniques. Key successes followed in 1977 with , where Haasan portrayed a village simpleton in a taboo romance with an older woman, drawing controversy for its unconventional themes but achieving commercial hit status as one of his first industry successes in . Avargal (1977), another Balachander collaboration, further showcased his range, including learning ventriloquism for the role, and was praised for its exploration of women's issues and strong ensemble performances. These hits contributed to growing repeat viewings and fan following in , though not all ventures succeeded, with earlier 1970s efforts like Njan Ninne Premikkunnu (1975) and Mattoru Seetha (1975) underperforming at the . By the late 1970s, Haasan expanded to with (1978), his debut in the language under Balachander's direction, portraying a lover in a tragic romance that bolstered his regional appeal across . This period solidified his reputation through a mix of critical acclaim and commercial viability, with successes outweighing flops in building a dedicated audience base.

Stardom and versatility (1980s)

In the 1980s, Kamal Haasan solidified his status as a leading star in South Indian cinema, appearing in over 30 films across , , , and other languages, blending commercial blockbusters with roles demanding artistic depth. His versatility was evident in genre-spanning performances, from classical dancer in (1983), which earned him critical acclaim and multiple regional awards including the , to the emotionally layered portrayal in (1983), where his depiction of a selfless tutor to a regressed woman garnered nominations for . Haasan's technical prowess shone in films requiring physical transformation, such as dual roles in (1982), where he played twins in a comedic setup, and Apoorva Sagodharargal (1989), featuring one character as a dwarf achieved through innovative prosthetics and makeup that set benchmarks for character realism in Indian cinema. These feats contrasted with mass-appeal action vehicles, highlighting his range beyond formulaic heroism. The decade's pinnacle came with Nayakan (1987), a epic loosely inspired by real-life figure , which grossed substantial returns and won Haasan the National Film Award for Best Actor, underscoring his ability to fuse with box-office draw. However, not all ventures succeeded commercially, revealing occasional over-reliance on action-oriented typecasting; (1985), a sequel emphasizing stunts and comedy, underperformed at the box office despite Haasan's involvement in choreography innovations that influenced industry standards. This mix of hits and misses affirmed his experimental edge, culminating in the Padma Shri award in 1990 for contributions to cinema, largely rooted in his 1980s output.

Directing, producing, and experimentation (1990s–2000s)

In the 1990s, Kamal Haasan expanded into production through his company , backing projects that explored complex social themes amid commercial uncertainties. Thevar Magan (1992), which he produced and for which he wrote the , depicted rural caste conflicts and family feuds in , influencing subsequent portrayals of regional power dynamics in Indian cinema. The film received the National Film Award for Best Feature Film in Tamil, underscoring its artistic merit despite the financial risks of foregrounding divisive caste issues over mass-appeal formulas. Haasan's directorial efforts in the late 1990s emphasized remakes with innovative twists, though outcomes highlighted tensions between creative ambition and market viability. He co-wrote, produced, and directed Chachi 420 (1997), a Hindi adaptation of his earlier Tamil comedy Avvai Shanmughi, featuring his cross-dressing lead role to navigate custody battles and societal norms. While praised for its technical execution in prosthetics and humor, the film's reliance on a niche comedic premise limited broader commercial recovery, reflecting Haasan's pattern of prioritizing performative experimentation over guaranteed returns. The 2000s saw bolder auteur ventures, often at significant financial cost. His directorial debut (2000), a bilingual semi-autobiographical on the Gandhi assassination and violence starring , adopted a revisionist lens critiquing historical narratives, earning critical acclaim for its depth but mixed reception for challenging orthodox views on communal riots. With a budget of ₹11 , it grossed approximately ₹11.3 worldwide, achieving near yet classified as a flop due to underwhelming theatrical runs, which strained sustainability for such high-stakes historical reinterpretations. Similarly, Aalavandhan (2001, released as Abhay in ), which he starred in and influenced through production oversight, incorporated pioneering and sequences in a narrative, but its ₹22 budget—the highest for a at the time—led to commercial failure amid budget overruns and audience disconnect from its abstract intensity. These projects demonstrated causal trade-offs: innovative techniques and thematic risks yielded artistic innovation but recurrent underperformance, underscoring challenges in balancing experimental cinema with economic viability in India's diverse markets.

Recent works and collaborations (2010s–present)

In the 2010s, Kamal Haasan directed and starred in (2013), an action-spy thriller that faced significant censorship controversies in due to objections from Muslim groups over its portrayal of , leading to a temporary ban and delayed release. Despite these hurdles, the film achieved commercial success, grossing over ₹200 worldwide. Haasan's career saw a resurgence with Vikram (2022), a directed by , where he played the lead role of Vikram, an ex-special forces operative. Produced under his banner (RKFI), the film was dubbed in multiple languages, marking his embrace of pan-India appeal, and grossed ₹414.43 worldwide, becoming one of the highest-grossing films at the time. This success highlighted his adaptation to high-octane, franchise-style narratives amid evolving industry dynamics toward multilingual releases and OTT synergies, with the film later streaming on platforms like . In 2024, Haasan portrayed the antagonist Supreme Yaskin in , a Telugu sci-fi epic directed by that blended mythological elements with dystopian , featuring a pan-India cast including and . The multilingual production, Haasan's notable return to , emerged as a major box-office phenomenon, underscoring his pivot to large-scale, cross-regional collaborations. RKFI continued to back Haasan's ventures, including the Mani Ratnam-directed (released June 5, 2025), an action drama with music by , which transitioned to OTT platforms like in multiple languages following its theatrical run. Amid these efforts, Haasan received the in 2014 from the for his contributions to cinema. By late 2025, announcements emerged of a high-profile collaboration with , directed by , potentially tied to 2 or a standalone project, aiming to reunite after decades in a mass-appeal . This reflects ongoing industry trends toward star-driven, multilingual spectacles produced through established banners like RKFI.

Political career

Founding Makkal Needhi Maiam (2018)

Kamal formally launched the (MNM) on February 21, 2018, in , establishing it as a regional rooted in rationalist and evidence-based principles to counter entrenched and opacity in Tamil Nadu's governance. The party's inception addressed the perceived decline in integrity amid the long-standing DMK-AIADMK duopoly, which Haasan criticized for fostering dependency through freebies and under-the-table dealings rather than sustainable progress. Initial efforts focused on membership drives appealing to urban youth frustrated with cyclical family-based , promoting merit-based selection and competence over hereditary or affiliations. Core founding tenets emphasized measures, without casteism, and pragmatic aimed at a self-sufficient through rational policy-making and technological integration, eschewing ideological extremes. The party adopted a self-funding approach reliant on public contributions to avoid corporate influence, with Haasan rejecting overtures like a reported ₹100 offer from another entity to preserve autonomy from vested interests. Early outlines called for electoral and education reforms to international standards, though specifics on curbing gubernatorial overreach emerged later. This model drew from Haasan's celebrity status, enabling rapid mobilization but highlighting elitist origins disconnected from rural voter bases reliant on empirical economic drivers like . The launch event attracted an estimated attendees, signaling initial enthusiasm but revealing limitations in broad appeal, as economic prescriptions remained vague—favoring state-orchestrated interventions for and without rigorous causal mechanisms for or private sector incentives. Such ambiguity, while aligning with rationalist rhetoric, overlooked first-principles scrutiny of Tamil Nadu's duopoly-induced stagnation, where empirically correlates with inefficient rather than mere transparency fixes. Mainstream coverage from outlets like , often reflective of urban intellectual biases, amplified the event's optics without probing these gaps.

Electoral efforts and alliances

Makkal Needhi Maiam (MNM), founded by in 2018, first contested elections independently in the , fielding candidates in 37 of Tamil Nadu's 39 seats. The party secured approximately 3.72% of the vote share statewide, translating to over 1.4 million votes, but won zero seats, with Haasan himself polling 2.64% in . This debut highlighted initial enthusiasm from Haasan's celebrity base but exposed organizational weaknesses against entrenched . In the 2021 Tamil Nadu Legislative Assembly election, MNM shifted to a limited alliance with smaller parties including Indhiya Jananayaga Katchi (IJK) and All India Samathuva Makkal Katchi (AISMK), contesting 154 seats while allocating others to partners. The alliance garnered 2.52% of the statewide vote share, roughly 1.15 million votes, yet secured no seats; Haasan lost his Coimbatore South contest to BJP's Vanathi Srinivasan by 1,728 votes. Critics attributed the poor performance to vote-splitting against major alliances and inadequate cadre mobilization, prompting internal revolts and questions about the party's sustainability. Facing repeated electoral setbacks, MNM adopted pragmatic alliance strategies, including informal overtures to BJP leaders around 2022 amid discussions on shared themes, though no formal pact materialized. By March 2024, Haasan pledged unconditional support to the DMK-led alliance for the polls without contesting seats, framing it as a national imperative over personal gain. This culminated in DMK allocating one seat to MNM for the June 2025 biennial elections, where Haasan was elected unopposed on June 12 and took oath on July 25. These pivots drew accusations of opportunism from opponents, who highlighted Haasan's earlier criticisms of BJP's politics and DMK's dynastic tendencies as evidence of ideological flexibility for survival. BJP state chief , for instance, labeled the DMK tie-up a "soul-selling" bargain for the berth. Haasan defended the moves as non-opportunistic, emphasizing diversity and pragmatism over rigid ideology. In 2025, amid preparations for potential 2026 polls, Haasan engaged in grassroots activities, such as visiting on October 6 to meet families affected by a at a rival TVK that killed 41. He urged organizers to accept responsibility and apologize while praising response, signaling localized but underscoring MNM's persistent challenges in building broad organizational beyond Haasan's personal appeal.

Policy positions and ideological shifts

Kamal Haasan has advocated for a two-language in , emphasizing and English as the while opposing the imposition of by the . He has stated that languages should be learned voluntarily without , aligning with regional sentiments in southern states against perceived linguistic dominance from . This reflects a commitment to , prioritizing state autonomy in education over national uniformity. Despite criticizing caste-based politics as divisive, Haasan has incorporated Dravidian ideological elements into Makkal Needhi Maiam (MNM), such as expanding the identity beyond to unite southern states against northern dominance. He has pledged to avoid and communal mobilization, yet MNM's retains undertones of Dravidian rationalism and cultural preservation, which has drawn scrutiny for inconsistency with his anti-caste stance. The 2019 MNM manifesto emphasized pro-market measures, including skill development for income generation rather than direct doles, alongside promises of 50 jobs, equal pay for women, and 100% profit guarantee for farmers through productivity enhancements. By 2021, the platform shifted toward welfare populism, proposing of unpaid household work for women via skill training and broader income support schemes. This evolution from market-oriented reforms to expanded entitlements has been attributed to electoral pressures, diluting initial focus on self-reliance. Haasan's founding of MNM in 2018 positioned the party against dynastic , targeting family-led parties like DMK and AIADMK. However, by 2024, MNM aligned with the DMK-led coalition, endorsing its candidates and securing Haasan's nomination through DMK support in 2025, marking a pragmatic deviation from anti-dynasty principles. Initially critical of BJP's centralizing policies, including on and delimitation, Haasan maintained an anti-BJP posture but realigned toward DMK, a family-dominated entity, for political viability. This shift highlights causal tensions between ideological purity and survival, as MNM's independent contests yielded minimal votes—3.72% in the 2019 elections and 2.52% in the 2021 assembly polls—suggesting voter perception of dilution eroded support.

Controversies

Statements on religion and Sanatan Dharma

In August 2025, during a speech at the Agaram Foundation's 15th anniversary event in , Kamal remarked that "education is the only weapon that can break the chains of ," framing as a form of requiring through . He clarified that his critique targeted dogmatic elements within s, including , rather than the underlying faith or its practitioners, positioning the statement as a call for rational inquiry over blind adherence. The comments elicited immediate backlash from the (BJP), which accused Haasan of anti-Hindu rhetoric and demanded an apology, asserting that "money and power have corrupted" him and caused him to forget his family's Sanatan roots. BJP leaders in and called for a of Haasan's films, labeling the remarks as an attack on the eternal principles of Sanatan Dharma and part of a pattern of selective criticism that spares minority faiths while targeting the Hindu majority. Protests ensued, with critics arguing that such statements normalize anti-majority bias under the guise of , contrasting Sanatan Dharma's historical emphasis on empirical questioning (as in Vedic texts promoting debate over dogma) with portrayals of it as inherently oppressive. Haasan's views align with his long-professed , as evidenced by family accounts and public statements rejecting the existence of gods or ; for instance, he has stated he does not pray to any and would discourage discussions of or at home. This perspective influenced his 2000 film , where he depicted during the 1947 riots as a causal chain triggered by personal trauma—protagonist Saket Ram witnesses his wife's murder by rioters, fueling a turn toward Hindu extremism and a plot to assassinate Gandhi, ultimately renounced in favor of non-violence—critiquing how grief and perpetuate communal cycles without excusing perpetrators on either side. Rebuttals from Hindu groups highlighted perceived inconsistencies in Haasan's , noting that Sanatan Dharma's foundational texts, such as the , prioritize causal reasoning and ethical pluralism over rigid hierarchies, contributions often underrepresented in critiques that equate it with diseases or chains while ignoring similar dogmatic issues in other traditions. Such responses framed the remarks as politically motivated pandering, exacerbating divisions by undermining the majority faith's role in fostering scientific inquiry, as seen in ancient advancements in and predating modern dogma accusations.

Political alliances and criticisms of opponents

Kamal Haasan has frequently criticized both major and the (BJP), yet his (MNM) has pursued shifting alliances amid repeated electoral setbacks. In the 2019 Lok Sabha elections, MNM contested independently, securing 3.72% of the vote share across but winning no seats, which analysts attributed to splitting anti-DMK votes and contributing to vote cannibalization for opposition fronts. Similarly, in the 2021 elections, MNM allied with smaller parties like AIMIM but lost all 135 contested seats plus allies', further eroding its standalone viability and prompting accusations from rivals that it functioned as a "B-team" for Dravidian majors by diluting anti-incumbent votes. Haasan's rhetoric against the BJP has included sharp rebukes, such as labeling the Modi government as "not yet fascist, but getting there" in March 2024, building on earlier endorsements of anti-BJP activism like supporting a student's 2018 slogan against BJP leaders. He has engaged in public disputes with over language policies, opposing the National Education Policy's in June 2025 and warning against imposition, arguing in February 2025 that Tamilians' linguistic pride should not be underestimated amid central-state tensions. These criticisms contrast with periods of tactical restraint, as MNM provided indirect support to the DMK-led in the 2024 polls without formal contesting, avoiding direct confrontation. Toward the DMK, Haasan launched pointed attacks on its dynastic structure, stating in February 2019 that "dynasty politics has destroyed the DMK" and questioning M.K. Stalin's leadership compared to his father , while in March 2021 decrying the party's and family dominance during a Women's Day event. These anti- barbs, central to MNM's founding ethos, appeared sidelined by 2025, when DMK backed Haasan's unopposed nomination from in June, filed as part of a post-2024 poll deal rewarding MNM's alliance support. BJP leaders, including state president , condemned this as opportunistic reversal, noting Haasan's abandonment of his anti-dynasty stance for personal gain amid MNM's desperation post-losses. Critics across parties have highlighted these flips as evidence of over , with post-2019 analyses linking MNM's independent runs to unintended vote fragmentation—such as its 2.52% share in 2021 aiding DMK's sweep—while subsequent alignments correlate with survival imperatives rather than ideological consistency. Haasan has defended such moves as strategic necessities in Tamil Nadu's polarized landscape, but opponents like BJP's have retaliated by accusing him of aligning with DMK amid scandals, portraying MNM as a weather-vane entity undermining its original claims.

Legal and public disputes

In January 2013, the Tamil Nadu government imposed a 15-day ban on the release of Kamal Haasan's film Vishwaroopam following protests by Muslim organizations claiming it hurt religious sentiments through depictions of terrorism. The Madras High Court initially lifted the ban on January 29 but reinstated restrictions amid ongoing objections, prompting Haasan to petition the Supreme Court. The dispute resolved on February 2 through an out-of-court settlement where Haasan agreed to edit or mute seven scenes, after which the ban was fully lifted on February 3, allowing screenings with modifications. In June 2025, Haasan's remarks during a promotional event for his film Thug Life, stating that the Kannada language "was born from Tamil," sparked backlash in Karnataka, leading to threats of violence and calls to ban the film's release there. The Karnataka High Court directed Haasan to apologize or forgo state protection for screenings, while producers sought judicial intervention against vigilante actions. The Supreme Court intervened on June 17, criticizing mob vigilantism and ordering the state to ensure the film's release without disruptions, emphasizing that courts, not crowds, determine legality. A Bengaluru civil court followed with an ex parte gag order on July 4, restraining Haasan from further defamatory statements on Kannada language, literature, or culture. These incidents highlight patterns of provisional bans overturned via judicial or negotiated resolutions, often amid accusations of uneven application of free speech protections in India's regional political contexts. No formal charges or convictions stemmed from these cases, with outcomes favoring conditional releases after compliance or higher court overrides.

Personal life

Marriages and family

Kamal Haasan married classical dancer in 1978, a union that began as a professional but dissolved amid personal challenges, culminating in divorce in 1988. The couple had no children together. Haasan entered a relationship with actress Sarika Thakur prior to the divorce from Ganapathy, and the couple welcomed their first daughter, , on January 28, 1986. They formalized their union through marriage on August 1, 1988, and had a second daughter, , born on October 4, 1991. Strains in the marriage led to separation proceedings filed in 2002, with the divorce finalized on February 13, 2004. Post-divorce, Haasan began a live-in relationship with actress Gautami Tadimalla around 2005, which concluded amicably in 2016 without legal marriage or children. Both daughters from his marriage to Sarika have established careers as actresses in Indian cinema, with Shruti debuting in music and film in the early 2000s and Akshara entering acting in 2015. Haasan has emphasized cooperative co-parenting arrangements with Sarika, noting their daughters' independent upbringings despite the separation's emotional toll.

Health issues and philanthropy

Kamal Haasan has sustained multiple injuries attributable to high-risk work and production mishaps throughout his career. In July 2016, he fractured his leg after slipping down stairs at his office, requiring hospitalization and subsequent surgery. Earlier incidents include a 2013 leg injury during a car for 2, where he jumped from a moving vehicle. In 2021, Haasan underwent follow-up surgery for complications from a prior fall from 18 feet that caused multiple leg fractures, after which he reported steady healing and returned to filming Vikram. These events underscore the physical toll of his insistence on performing demanding action sequences personally, often without full recovery, as evidenced by a 2023 executed despite a right-hand injury. Haasan's resilience is reflected in his sustained professional output post-injury; by , he confirmed fitness for major collaborations, including a reunion project with after 46 years, signaling recovery sufficient for rigorous schedules. In philanthropy, Haasan initiated the 'Naame Theervu' volunteer program in June 2020 to deliver medical aid and to vulnerable residents during the outbreak, emphasizing community-driven response over government data he publicly questioned. He has supported , the South Indian actors' union, through advocacy for welfare reforms and infrastructure like a new office complex to aid industry workers facing livelihood disruptions. These efforts, while yielding tangible aid in urban film circles, have drawn observations of selective scope, with limited documented emphasis on rural initiatives despite Haasan's regional heritage—potentially aligning with image cultivation amid his political and cinematic profiles, as inferred from timing with public crises.

Legacy

Influence on Indian cinema

Kamal Haasan introduced advanced techniques to South cinema after training under experts like on Hollywood productions such as (1988) and . He applied these methods in films like (1996), marking the first extensive use of prosthetics for character aging in cinema, and (2008), where he portrayed ten distinct roles relying on layered prosthetics and . This innovation shifted industry standards, enabling more transformative character work and influencing subsequent actors in multilingual productions to prioritize technical realism over conventional disguises. His versatility across genres, from in Michael Madana Kama Rajan (1990)—where he enacted four roles with distinct mannerisms, contributing to its screenplay and earning acclaim for seamless ensemble —to thrillers and historical dramas, encouraged experimentation in cinema's narrative structures. AVM Productions ties, stemming from his child debut in their (1960) and shared projects with contemporaries like , facilitated early cross-pollination of styles, though Haasan’s emphasis on set a benchmark for genre fluidity rather than mass-appeal formulas. Efforts to expand reach included select films like (2000) into , broadening South Indian techniques to northern audiences and prefiguring pan-India hybrid models. Critics note that Haasan's ambitious experiments sometimes led to overhyping unviable projects, as seen in Marudhanayagam, announced in 1997 with an initial ₹20 crore budget that escalated to over ₹100 crore by 2014 amid production halts, remaining unreleased as of 2025 due to financial and logistical failures. This exemplifies how his pursuit of epic scale—intended as India's costliest period film at the time—highlighted risks of prioritizing innovation over completion, contributing to commercial setbacks that tempered industry emulation of his riskier ventures.

Impact on politics and society

Kamal Haasan's (MNM), launched in 2018, achieved a 3.72% vote share in the 2019 elections across Nadu's contested seats, emerging third in several urban constituencies but failing to secure any victories, which analysts attributed to fragmenting opposition votes without displacing established like DMK and AIADMK. This performance indirectly bolstered incumbents by diluting anti-establishment sentiment, as MNM drew support primarily from urban, educated voters disillusioned with traditional parties, per post-poll analyses showing stronger appeal in cities like and compared to rural areas. In the 2021 state assembly elections, MNM contested independently and won zero seats despite fielding candidates statewide, underscoring its limited penetration beyond elite urban pockets. MNM's advocacy for and critique of religious positioned it as a challenger to the theistic undercurrents in Dravidian , with Haasan publicly promoting and urging to counter what he described as chains of Sanatan Dharma in 2025 speeches. Campaigns against godmen and , including Haasan's 2017-2019 statements labeling right-wing Hindu actions as terroristic and referencing historical figures like as extremists, aimed to foster but alienated conservative voters who viewed them as eroding Tamil cultural traditions rooted in Shaivite and Vaishnavite practices. BJP leaders and Hindu groups criticized these positions as divisive and anti-Hindu, arguing they prioritized ideological purity over broad societal cohesion, with backlash intensifying after Haasan's 2025 remarks equating Sanatan Dharma to tyranny. By 2025, Haasan's unopposed election to the , facilitated by DMK alliance support in exchange for MNM's 2024 Lok Sabha campaigning, elevated his platform to minority and rationalist advocacy, though this alliance marked a pragmatic shift from MNM's initial independence. Voter data from prior elections indicate MNM's rationalist messaging resonated narrowly with elites—polling over 30% in select city segments like South in 2021—but surveys and outcomes reveal broader rejection amid perceptions of cultural insensitivity, limiting long-term societal transformation despite amplified parliamentary visibility. Conservative commentators contend this approach risks deepening social fissures by undermining traditions without empirical gains in mass mobilization, as evidenced by repeated electoral blanks.

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