The Thamizh cinema had produced one of the most unexplained phenomena in Rajnikanth, the SUPER STAR of Thamizh cinema. To give a brief history of Rajnikanth i should rely on wikipedia:-
Shivaji Rao Gaekwad (born on 12 December 1950), professionally known by his stage name Rajinikanth (Tamil: ரஜினிகாந்த்; Kannada: ರಜನೀಕಾಂತ್; Marathi: रजनीकांत), is an Indian film actor. He received India’s third highest honour, the Padma Bhushan, for his contribution to Indian cinema. He is best known for his mass popularity and appeal, largely drawn from his mannerisms and stylized delivery of dialogue in films. Other than acting, Rajinikanth worked as a screenwriter, film producer, and also a playback singer. Apart from his film career, he is a philanthropist and also serves as an influence in the politics of Tamil Nadu.
Rajinikanth debuted as an actor in 1975 under the direction of K. Balachander in supporting roles. He was later favoured in portraying antagonistic characters and gradually rose to acting in lead roles. After the release of his 1978 film Bhairavi, he became known as the “super star” of Tamil cinema, which was the title given to him by film producer S. Thanu and till this date used by many people to refer to him. He also appeared in the cinemas of other nations, including American cinema. He was paid Rs. 26 crores for Sivaji: The Boss, making him the highest paid actor in Asia after Jackie Chan.
CINEMA is an audio-visual entertainment. Therefore there are 2 aspects that are essential for captivating the audience. One is the VOICE and the other is the SIGHT. So to be successful in cinema one has to excel in either of these essentials. The VOICE is absolutely essential for a MALE ACTOR. I have not seen a successful MALE ACTOR’S voice dubbed and his screen presence alone used by the Director. For a male actor the VOICE is the distinguishing factor. For example, Katarina Kaif cannot talk in Hindi, but she is a successful actress without her voice ever being a part of the film. Such is the case with a whole host of heroines who land up in Madras from the other side of the hills!! But one cannot separate the man’s VOICE from his presence. Rajnikanth had to create a space for himself and he did. He accentuated the pace of his dialogue delivery. But the VOICE alone would not carry the day in an AUDIO-VISUAL entertainment. So his pace in movement and his mannerisms were kept in tune with the TIMING of his dialogue delivery speed. In fact he speeded up the Thamizh language.
It was this SPEEDING UP of the THAMIZH language which created his space. Maybe, had he arrived in the 50’s this would not have cut much ice with the public, the TIMING changes in the MID 70’s. And there u have the phenomenon. The original and NATURALLY ORIGINAL RAJNIKANTH. Whether he filled up an evolving void or created the void to fill himself up, is a conundrum. (Kaatru vandha dhaal kodi asaindha dhaa? illai kodi asaindhadhaal kaatru vandhadha?)
IN ANY CASE, AFTER THE HAPPENING OF A PHENOMENON, IT IS EASIER TO ASCRIBE REASONS FOR THE PHENOMENON. BUT IT IS IMPOSSIBLE TO IDENTIFY THE INGREDIENTS OF A PHENOMENON AND PUT THEM TOGETHER TO REPEAT THE PHENOMENON.
IT JUST HAPPENS. IN THE CASE OF RAJNIKANTH IT HAPPENED. I AM MERELY RATIONALIZING!!