Rajinikanth
Shivaji Rao Gaekwad (born 12 December 1950), known professionally as Rajinikanth, is an Indian actor who works predominantly in Tamil cinema.[1] He began his film career as a supporting actor in 1975 and rose to prominence through lead roles characterized by exaggerated mannerisms and mass-appeal dialogues, establishing himself as one of India's highest-paid actors with a career spanning nearly 170 films.[2] Rajinikanth's influence extends beyond acting, marked by a devoted fan base that often exhibits fervent worship, contributing to his status as a cultural phenomenon in South India and among the Tamil diaspora.[2] The Government of India has recognized his contributions to cinema with the Padma Bhushan in 2000, the Padma Vibhushan in 2016, and the Dadasaheb Phalke Award in 2021, the latter being India's highest cinematic honor.[3] He has ventured into film production and philanthropy, including support for social causes, while periodically announcing but ultimately withdrawing from active political involvement since the 1990s.[4]Early life
Birth and family origins
Rajinikanth was born Shivaji Rao Gaekwad on 12 December 1950 in Bangalore, then part of Mysore State (present-day Karnataka, India), into a Marathi-speaking family of modest means.[5][6] His father, Ramoji Rao Gaekwad, hailed from Maharashtra and worked as a police constable in Bangalore, while his mother, Jijabai (also referred to as Ramabai in some accounts), was a housewife of Kannadiga origin from Karnataka.[7][6] The family resided in a lower-middle-class neighborhood, reflecting the father's occupation in public service and the mother's homemaking role, with no notable wealth or prominence in their lineage.[5] Jijabai died when Shivaji Rao was approximately nine years old, after which Ramoji Rao remarried, adding to the household dynamics during his childhood.[8] Shivaji Rao was the youngest of four siblings, comprising two elder brothers—Satyanarayana Rao and Nageshwara Rao—and an elder sister named Aswath Balaya (also known as Ashwathamma).[6] The family's Marathi roots traced back to Maharashtra, though they had settled in Karnataka, where Shivaji Rao grew up speaking a mix of Marathi and Kannada influenced by local Kannadiga elements from his mother's side.[7][5]Education and pre-film occupations
Rajinikanth, born Shivaji Rao Gaekwad on December 12, 1950, in Bangalore, completed his primary education at the Gavipuram Government Kannada Model Primary School.[9] He then pursued secondary education at Acharya Pathasala Public School (also known as APS High School), where he excelled academically, achieving 98% in middle school examinations.[10] [7] Rajinikanth has credited this institution with shaping his early interest in acting, though he discontinued formal studies after high school and did not obtain a college degree.[10] [11] Following school, Rajinikanth took up manual labor to support himself, working as a coolie at railway stations and as a carpenter.[12] [13] He later joined the Bangalore Transport Service (BTS) as a bus conductor, earning a monthly salary of ₹750, a role he held in the early 1970s while residing in Bengaluru's Gandhi Bazaar area near Basavanagudi.[12] [14] In this job, he gained a reputation for efficiency and charisma, including theatrical gestures like flipping tickets with flair to impress passengers.[15] Parallel to these occupations, Rajinikanth cultivated his performing skills through amateur theater, participating in Kannada-language stage plays, including mythological dramas, after being encouraged by local playwright Topi Muniappa.[13] These experiences, combined with brief training at a film institute in Madras, honed his dramatic abilities before his entry into cinema in 1975.[16]Film career
Debut and early roles (1974–1977)
Rajinikanth entered the film industry in 1975 after being spotted by director K. Balachander during his stage acting in Madras, where Balachander was impressed by his expressive villainous portrayal in a play and decided to cast him in cinema, also assigning him the screen name "Rajinikanth" to distinguish him from other actors.[17] His debut came in Balachander's Tamil drama Apoorva Raagangal, released on 15 August 1975, where he played a brief but pivotal antagonistic role as an abusive husband to the character portrayed by Srividya.[18] [19] The film starred Kamal Haasan in the lead and focused on unconventional relationships, with Rajinikanth's limited screen time establishing his intense screen presence in negative shades.[20] In 1976, Rajinikanth expanded into multilingual cinema with supporting roles in the Kannada anthology Katha Sangama and the Telugu drama Anthuleni Katha, both released early that year.[21] His most notable early role came in Balachander's Moondru Mudichu, a Tamil thriller released on 22 October 1976, where he portrayed Balaji, a cunning and vengeful anti-hero roommate obsessed with Sridevi's character, opposite Kamal Haasan as the more virtuous protagonist.[22] [23] The film marked his first major antagonistic part, showcasing his ability to convey malice through mannerisms, and it achieved commercial success while highlighting the trio of emerging stars—Rajinikanth, Haasan, and a teenage Sridevi in her adult lead debut.[24] By 1977, Rajinikanth continued in negative or supporting capacities in Tamil films such as Avargal and 16 Vayathinile, the latter featuring him as a lecherous villain that further honed his villainous archetype.[7] He also secured his first lead role in the Telugu film Chilakamma Cheppindi, earning a nomination for a regional acting award, signaling an early shift toward heroic prospects amid persistent typecasting in adversarial parts.[25] These initial years confined him largely to Balachander's productions and villainous tropes, laying the groundwork for his stylistic evolution through raw intensity rather than conventional heroism.[17]Breakthrough and style development (1978–1989)
Rajinikanth achieved his acting breakthrough with the 1978 Tamil film Mullum Malarum, directed by J. Mahendran, where he portrayed Kali, a proud and volatile winch operator navigating family conflicts and personal flaws.[26] The film's emphasis on visual realism and character depth, eschewing typical melodrama, highlighted Rajinikanth's nuanced performance, marking a shift from his earlier antagonistic roles to more layered protagonists.[27] This role earned critical acclaim and established him as a versatile performer capable of realism amid Tamil cinema's formulaic trends.[28] In 1978 alone, Rajinikanth appeared in approximately 20 films across Tamil, Telugu, and Kannada industries, experimenting with diverse characters from villains to leads, which broadened his appeal beyond supporting parts.[29] This prolific output, including Bhairavi where he played a loyal servant, transitioned him toward solo hero status, with Bhairavi noted as the first Tamil film to feature him prominently as the lead.[5] These roles refined his on-screen presence, blending intensity with vulnerability, setting the stage for mass-hero personas. The 1980 action thriller Billa, a remake of the Hindi film Don (1978), solidified Rajinikanth's superstardom through his dual portrayal of the ruthless mafia don Billa and the impersonating villager Rajappa, introducing stylish villainy and high-energy action sequences.[30] The film's commercial success, driven by Rajinikanth's charismatic entry scenes and mannerisms, elevated him to leading man status, grossing significantly and spawning imitators.[2] Here, elements of his signature style—such as cigarette flips and confident swagger—emerged, drawing from his pre-film bus conductor days and practiced gestures, transforming him into a cultural icon of swag.[5] Throughout the 1980s, Rajinikanth honed a mass-appeal style as an underclass hero in films like Murattu Kaalai (1980) and Dharmathin Thalaivan (1988), featuring punchy dialogues, acrobatic fights, and anti-establishment bravado that resonated with working-class audiences.[31] His evolution from negative characters in the 1970s to empowered protagonists incorporated theatrical flourishes, like sunglass flips and rapid hair tosses, which became trademarks by mid-decade, influencing Tamil cinema's action-hero archetype.[32] This period saw over a dozen annual releases, with hits emphasizing his rugged charisma over plot complexity, cementing fan devotion through larger-than-life portrayals.[2]Consolidation of superstardom (1990–2009)
During the 1990s, Rajinikanth delivered a string of commercially viable Tamil films that amplified his appeal among mass audiences, blending action, drama, and his idiosyncratic performance style. Films such as Annamalai (1992), directed by Suresh Krissna, and Mannan (1992), directed by P. Vasu, achieved box-office success in Tamil Nadu.[33] These works built on his established persona, featuring protagonists who embodied resilience and moral uprightness, resonating with working-class viewers through accessible narratives and high-stakes confrontations. Baashha (1995), again helmed by Suresh Krissna, emerged as a pivotal success, cementing Rajinikanth's image as an indomitable underdog rising against corruption and crime; it is widely regarded as a cult favorite that boosted his legendary status.[34] Muthu (1995), directed by K. S. Ravikumar, extended his reach beyond India, attaining blockbuster status in Japan upon its 1998 release as Muthu: The Dancing Maharaja, where it grossed $1.6 million, ran for 23 weeks, and held the record as the highest-earning Indian film there for over two decades.[35] Padayappa (1999), also by Ravikumar, marked a commercial pinnacle, becoming the first Tamil film to surpass ₹50 crore in worldwide gross and screening for 100 days in 123 theaters, driven by its family-oriented plot and Rajinikanth's commanding portrayal of familial loyalty.[36] The 2000s saw Rajinikanth navigate career fluctuations, including the ambitious but underperforming Baba (2002), before rebounding with Chandramukhi (2005), a psychological thriller remake that ranked among Tamil cinema's top earners of the era and earned him Best Actor accolades from regional film bodies.[37] Sivaji: The Boss (2007), directed by S. Shankar, represented a high point, grossing over ₹100 crore globally and entering the 100 crore club as one of the costliest Indian productions to date with a budget exceeding ₹60 crore, fueled by themes of wealth redistribution and anti-corruption vigilantism.[38] [39] In recognition of his enduring impact, Rajinikanth received the Entertainer of the Year Award at the NDTV Indian of the Year ceremony on January 17, 2008, presented by Prime Minister Manmohan Singh.[40] Throughout this period, his films consistently prioritized spectacle and fan service, sustaining box-office preeminence in South India despite occasional critical variances.Mid-career challenges and revivals (2010–2019)
Rajinikanth's film Enthiran (also known as Robot), released on October 1, 2010, marked a significant commercial triumph, grossing between ₹290 crore and ₹375 crore worldwide and establishing new box office benchmarks through its science fiction narrative and visual effects.[41] The film's dual portrayal of a scientist and android robot by Rajinikanth contributed to its pan-Indian and international appeal, reinforcing his mass-market draw amid evolving industry demands for technical innovation. However, this peak was disrupted by severe health complications in 2011, including hospitalization for pulmonary edema, kidney failure, and respiratory issues linked to prior smoking and alcohol habits.[42] [43] Admitted to a Chennai hospital in April and later transferred to Singapore for advanced treatment, Rajinikanth faced near-fatal pneumonia and required dialysis, prompting widespread fan prayers and project halts, such as the shelved Rana.[44] These episodes, involving multiple ICU stays, highlighted physical tolls from decades of intense filming schedules and lifestyle factors, casting uncertainty over his future output. Subsequent efforts adapted to health constraints, including the 2014 motion-capture animated film Kochadaiiyaan, directed by his daughter Soundarya, which minimized physical exertion but received mixed critical reception for narrative and animation quality. Lingaa, released November 14, 2014, aimed for revival with a period adventure format but underperformed commercially relative to expectations, grossing modestly amid criticisms of dated scripting. These ventures reflected attempts to sustain stardom through technological aids and genre shifts, yet struggled against rising competition from younger actors and shifting audience preferences. A kidney transplant on December 14, 2016, from his daughter Soundarya further punctuated the decade, with Rajinikanth confirming the procedure publicly in 2020 to dispel rumors.[45] Recovery enabled comebacks like Kabali (July 22, 2016), a gangster drama that achieved strong openings and profitability through fervent fan support, grossing over ₹100 crore worldwide despite mixed reviews on pacing.[46] The period culminated in 2.0 (November 29, 2018), a sequel to Enthiran with escalated budgets exceeding ₹500 crore, which grossed approximately ₹700 crore globally, becoming one of Tamil cinema's highest earners and signaling a revival via spectacle-driven blockbusters.[47] Kaala (June 7, 2018), however, yielded losses, collecting around ₹160 crore against a ₹140 crore outlay, underscoring inconsistent results amid health recoveries and directorial experiments.[48] Overall, the decade balanced existential health threats with resilient commercial rebounds, driven by Rajinikanth's enduring persona rather than consistent critical acclaim.Recent projects and health influences (2020–present)
In 2020, Rajinikanth starred in Darbar, an action film directed by A. R. Murugadoss, released on January 9, which featured him as a tough police officer and earned approximately ₹202–250 crore at the box office despite mixed critical reception.[49] Later that year, while filming Annaatthe under S. Rajamouli's initial direction (later completed by Rajinikanth's daughter Soundarya), he experienced severe hypertension and fluctuating blood pressure, leading to hospitalization in Apollo Hospital, Hyderabad, on December 25, 2020, for exhaustion and monitoring; he was discharged on December 27 after stabilization.[50] This episode prompted a temporary withdrawal from planned political activities but did not halt film commitments, with Annaatthe releasing on November 4, 2021, and grossing ₹175–240 crore.[51] Following a period of recovery, Rajinikanth returned with Jailer in 2023, directed by Nelson Dilipkumar, portraying a retired jailer in a mass-action entertainer that became one of Tamil cinema's highest-grossing films, praised for its commercial success amid his selective scripting post-health concerns.[52] In 2024, he appeared in Lal Salaam, a sports drama produced by his daughter Aishwarya Rajinikanth and directed by Vishnu Vishal, where he played a supporting role as a cricket coach, reflecting a family-involved project amid his focus on meaningful roles over high-volume output.[52] That year also saw Vettaiyan, directed by T. J. Gnanavel, released on October 10, featuring Rajinikanth as a senior police officer in a vigilante-themed thriller, which received positive audience response for its thematic depth.[53] On September 30, 2024, Rajinikanth, then 73, was admitted to Apollo Hospitals in Chennai for severe stomach pain, undergoing a non-surgical endovascular procedure on October 1 to address swelling in his aorta; his condition remained stable, with discharge on October 4 after observation.[54] [55] These recurring vascular issues, linked to his age and prior conditions including a 2011 kidney transplant, have influenced a cautious approach to physically demanding roles, prioritizing health screenings before shoots. In 2025, he starred in Coolie, directed by Lokesh Kanagaraj and released on August 14, an action thriller marking his 50th year in cinema, where he played a vengeful porter, demonstrating sustained vigor despite health vigilance.[56] [57] To mark this milestone, on November 19, 2025, Hindustan Times, in collaboration with OTTplay, rebranded its front page as "Rajinikanth Times" in a historic tribute to his 50-year career as a pan-Indian pop culture icon.[58] Ongoing projects like Jailer 2 continue under similar protocols, with medical teams involved to mitigate risks.[52]Political engagements
Initial forays and public statements (1995–2017)
In 1995, during the centenary celebration of his film Baasha, Rajinikanth delivered a speech criticizing hereditary politics and the proliferation of bomb-related violence in Tamil Nadu, which was widely interpreted as an indictment of the ruling AIADMK government led by J. Jayalalithaa.[59][60] This public stance strained relations with the AIADMK, prompting Jayalalithaa to dismiss AIADMK minister R. M. Veerappan from his cabinet position for failing to intervene during the event, despite their prior friendship.[61][62] Leading into the 1996 Tamil Nadu Legislative Assembly election, Rajinikanth escalated his criticism by declaring, "Even God cannot save Tamil Nadu if Jayalalithaa returns to power," a statement credited with influencing voter sentiment against the AIADMK and bolstering the DMK-led front's victory, which installed M. Karunanidhi as chief minister.[63][64][65] He extended this support to the DMK alliance in the 1998 Lok Sabha elections, marking his most explicit electoral endorsement to date, though he did not contest or formally affiliate with any party.[66] Throughout the 2000s and 2010s, Rajinikanth issued occasional public statements on regional issues, particularly advocating for Tamil Nadu's position in the Cauvery water dispute, urging implementation of court directives for water release from Karnataka while emphasizing amicable resolution.[67][68] In 2008, his comments on the dispute sparked protests in Karnataka, leading to threats of a ban on his film Kuselan, but he prioritized de-escalation by promoting dialogue over confrontation.[68] By 2017, amid speculation fueled by his fanbase's political expectations, Rajinikanth briefly appeared to back the BJP candidate in the R. K. Nagar by-election before clarifying his neutrality via tweet, underscoring his reluctance to fully commit despite persistent rumors of a potential entry.[69][70] These interventions highlighted his influence as a cultural figure capable of swaying public opinion, yet he consistently avoided institutional political roles during this period.[71]Launch and abandonment of political party (2018–2021)
In the aftermath of his December 31, 2017, declaration of intent to enter politics, Rajinikanth initiated organizational efforts through his fan clubs, culminating in the formation of the Rajini Makkal Mandram (RMM) as a preparatory platform for a formal party.[72] The RMM functioned as a non-electoral entity focused on welfare activities and ideological groundwork, with Rajinikanth conducting statewide tours in 2018–2019 to gauge support and articulate a vision centered on spiritual governance, anti-corruption measures, and non-alliance politics.[73] These efforts faced repeated postponements, attributed by Rajinikanth to his ongoing health recovery from a 2011 kidney transplant and broader uncertainties.[74] On December 3, 2020, Rajinikanth announced plans to officially launch the party in January 2021, aiming to contest all 234 seats in the Tamil Nadu Assembly elections scheduled for 2021, with the RMM serving as its foundational structure.[75] [76] He emphasized the decision as a response to public demand, stating it represented "now or never" for his political commitment.[77] However, on December 29, 2020, just weeks later, Rajinikanth withdrew from the launch, citing a recent hospitalization for severe hypertension and fluctuating blood pressure as a "God-sent signal" against proceeding, compounded by the risks posed by the COVID-19 pandemic to his health.[74] [78] [79] He expressed regret but affirmed he would continue serving the public through non-political means, without converting the RMM into a party.[80] By July 12, 2021, Rajinikanth formally dissolved the RMM, declaring no future intention to enter politics and redirecting its activities toward fan welfare alone.[81] [82] This closure marked the end of a three-year preparatory phase that never materialized into an electoral entity, influenced primarily by his deteriorating physical condition rather than strategic or ideological shifts.[83]Post-retirement commentary
Following the dissolution of his political precursor organization, Rajini Makkal Mandram, on July 12, 2021, Rajinikanth explicitly stated he had no plans to enter politics, emphasizing a return to apolitical fan club activities while committing to public service outside electoral frameworks.[84] He cited health concerns and a perceived divine signal from his 2020 hospitalization as factors reinforcing this retreat, framing it as an opportunity to avoid the physical demands of campaigning.[80] In subsequent reflections, such as during a November 2024 interview, Rajinikanth described feeling overwhelmed by the volume and contradictions in advice from supporters and advisors during his earlier political deliberations, contrasting it with figures like Janaki Ramachandran who made independent decisions on endorsements.[85] This highlighted his preference for autonomy over orchestrated political strategies. His post-withdrawal commentary remained limited and non-partisan, avoiding endorsements of parties or candidates. During the April 2021 Tamil Nadu assembly elections, he cast his vote early at a Chennai polling station but refrained from supporting any alliance.[86] Selective praises emerged, including commendation of Tamil Nadu Chief Minister M.K. Stalin's administrative acumen in August 2024 at a public event, followed by calling Stalin a "friend" and "star of Indian politics" capable of challenging rivals ahead of the 2026 polls, during a September 14, 2025, felicitation for composer Ilaiyaraaja.[87][88][89] On national issues, Rajinikanth condemned a May 2025 terror attack in Pahalgam as "barbaric and merciless" at the WAVES Summit, expressing confidence in Prime Minister Narendra Modi's resolve as a "fighter" to restore peace in Kashmir.[90] These instances reflect a pattern of issue-specific or personal affirmations rather than sustained political advocacy.Public persona
Iconic mannerisms and fan devotion
Rajinikanth's on-screen persona is defined by distinctive mannerisms that emerged prominently from his early films in the late 1970s, including the signature cigarette flip, where he dexterously tosses a cigarette from hand to mouth using a flick of the fingers, a technique he practiced extensively in front of a mirror during his acting preparation. This move, reportedly inspired by Bollywood actor Shatrughan Sinha's natural habit rather than deliberate styling, became a cultural staple replicated by fans and youth, appearing in films like Moondru Mudichu (1976) and persisting in later works such as Coolie (2025).[91] [92] Other recurring elements include his intense staring gaze, hair tosses, finger-pointing gestures mimicking gunfire, and a swaggering walk that conveys unyielding confidence, often paired with crossed-leg sitting postures or draping a thundu (broad cloth stole) over the shoulder.[13] [93] [94] These traits, cultivated from his pre-cinema days as a bus conductor interacting spontaneously with passengers, evolved into a stylized archetype that influenced Tamil cinema's mass-hero template, with Rajinikanth himself crediting their organic development over invention.[95] [96] His fanbase exhibits unparalleled devotion, treating him as a near-deity in Tamil Nadu, with multiple temples constructed in his honor, such as a Madurai residence-turned-shrine featuring a 300-kilogram idol inaugurated around 2022, where rituals occur on festivals like Tamil New Year.[97] In August 2025, marking his 50 years in cinema, a devotee adorned another Madurai temple with 5,500 posters of the actor and conducted special pujas for the release of Coolie.[98] [99] Fans routinely perform prayers at Vinayagar temples seeking box-office success for his films, reflecting a worship-like fervor that Rajinikanth counters by retreating to mountain temples for 10-12 days to perform menial tasks like floor cleaning, thereby maintaining personal humility amid the adulation.[100] [101] [102]Media portrayal and cultural symbolism
Rajinikanth's media portrayal emphasizes his evolution from a supporting antagonist in Apoorva Raagangal (1975) to a dominant action hero, often embodying underdog characters who triumph through loyalty, justice, and stylized bravado.[2] His on-screen image features signature mannerisms, such as cigarette flicks and punch dialogues, which have been recurrently highlighted in film critiques and promotional coverage for their mass appeal and performative flair.[2] In international contexts, films like Enthiran (2010) showcased his versatility, blending high-tech spectacle with traditional heroism, elevating his profile in American media as a charismatic figure.[103] Culturally, Rajinikanth symbolizes working-class resilience and moral integrity, resonating as a rebel against systemic disillusionment in Tamil society, particularly amid the 1970s Emergency era's political shifts.[104] His dialogues, such as those delivering entrepreneurial or ethical mantras, have permeated everyday language, evolving into widespread catchphrases and memes that influence pop culture beyond cinema.[105] This symbolism manifests in fan devotion, with over 50,000 clubs across Tamil Nadu treating his film releases as festivals involving rituals like milk-pouring on posters.[2] Devotees have constructed temples dedicated to him, including a Madurai residence-based shrine featuring a 250 kg black stone idol installed in 2023 and adorned with 5,500 posters in 2025 to mark his 50-year career milestone.[98][106] Such acts underscore his deification, positioning him as a cultural colossus who inspires emulation of confidence and anti-establishment ethos among predominantly male, middle-aged followers in Tamil Nadu.[2]