Depicting Hero in Mainstream Tamil Cinema: the Mould That Changes

Home , AR Murugadoss, Deewaar, Mankatha, Sivaji Ganesan, Sun Pictures

International Journal of Advanced Science and Technology Vol. 29, No. 12s, (2020), pp. 09-14

Depicting Hero In Mainstream Tamil Cinema: The Mould That Changes

Prabakaran V* & Dr. G Balasubramaniaraja** *Ph.D. Scholar, Reg No: 17234011021141, ManonmaniamSundaranar University, Tirunelveli, Tamilnadu, India. Assistant Professor, Department of Visual Communication, FSH, SRM Institute of Science and Technology, Tamilnadu, India **Professor and Head, Department of Communication, ManonmaniamSundaranar University, Tirunelveli, Tamilnadu, India

Abstract

The Protagonist, a hero, generally is the central character of any film. The antagonist, a Villain, performs against the Hero and negative side of the story. However, at times hero characters come with a negative shade. The films come up with the reasonable (at least to them) flashback stories in antihero subjects. They justify their harmful protagonist activities. For example, all the don stories of Tamil cinema have a flashback explaining why he has become so. MGR used the medium to communicate the positive elements only to maintain his image among the audiences and to convey his ideologies. He even made sure that his film titles convey the positivity. In this paper, the researcher analyses the changing image of the hero characters in Tamil cinema

Keywords: The Hero, Tamil Cinema, Image building, antihero, Characterization

Introduction

Hero characters in Tamil cinema are classified into these categories. Category One, the good guy, who does good to the society in a natural way whatever the situation he faces. Second one whatever the way maybe; doing good to the society is matters. The third one is not at all good, so do not expect good from him. However, most of the hero portrayal will fit into any of these categories. This research paper analyses the changing image of the Hero in the Tamil cinema based on the article available on the portrayal of heroes.

Review of Literature

During the period of emergency in India, the citizens are unrest. It is quite natural too. The filmmakers utilized the situation and emotions of the public in their scripts. They have created characters who disobey the order, especially writers Salim and Javid. Their heroes never allowed the situation to overtake their life. They may be a coolie, or auto driver, or a smuggler or a police officer whomever it may be; they are bold, courageous, and strong enough to question the society. Though they are ordinary men, they live an extraordinary life, larger than real life. Hero's anger is not his anger; it is the anger of a common man who could not express it or who would not express it. Akbar Shahpurwalla, in (ed) NasreenMunnikabir's Bollywood 2001 (The Indian Cinema Story).

Amitabh Bachchan 2001 said that he did not create these characters of 'angry young man' and added further that it is all created by Salim and Javed, who wrote the scripts of Zanjeer, Deewaar and Sholay and many of his films. He said the way they portray those characters on screen well received. It is maybe because the writers found likely that qualities in him and fortunately films met success too. (NasreenMunnikabir). Once Hero introduced on-screen, the fans start to celebrate by whistling clapping and throwing a piece of paper.

Moreover, the audience feels pity for the villain. They firmly believe that the Hero is going to win finally. Most of the Hero oriented mainstream films are happy ending only.

ManojBajpai argues that Amitabh Bachchan's film gave fulfillment to their fans through his angry young man concept films. Not only had his films all about his life received significant attention. When he met with an accident and admitted to the Breach Candy Hospital in 1983 during the shooting of the film Coolie, then Prime Minister Indira Gandhi visited him in the hospital and said in the media that she prayed for his life. He even entered politics and became MP and resigned after a few years and said that he is not suitable for politics.

Javed Akhtar 2001 argues that the values of our earlier heroes come from the joint family culture of our nation. Obeying parental authority reflects in the heroes of our films till the 1950s. After industrialization, it had started changing slowly when the dream of people got shattered; it is natural and logical that they celebrate anger young man on screen. Shahrukh Khan 2001 expressed his view that the audience is ultimate in deciding the success of the films. Out of 180 films, only eight films tasted success, and others rejected straight away—Indian film audiences living abroad like love stories, pretty things, and women in sarees. So film producers make films like Taal, Dil to Pagal Hai, KuchKuchHota Hai, DilwaleDulhania Le Jayenge and Hum Apke Hain Koun in that style. He said furthermore that he dint like movies with social messages. A movie makes someone laugh, cry, sing, and dance is his choice of all time.

S.V.Srinivas 2001 Telugu actor Chiranjeevi's diehard fans their thumbs to smear blood in the forehead of their favorite actor. If any other persons make wrong comments about the actor, the fans prepared to assault them. They imitate the hairstyle of the actor based on the film, and they use his gesture. The dialogues or punch lines of the actor are also mocked by them regularly. For such devotion from the fans, the mainstream actors, stars, should ensure that their films are not only loaded with two and half an hour of entertainment but also with the right message.

MGR of the Tamil film industry makes sure that his film title also conveys the positive message, but the actor Shahrukh Khan said he does not like social messages in the movies. The vast difference in the ideologies reflects a difference in the content of films too.

Research Methodology

The standard qualitative research method in social sciences is content analysis. The fundamental concept of this research method is to interpret the texts and their meaning. Here the text means not only written text alone but also oral text, drawings, paintings, and audio-visual text. It is the research method for studying documentation and communication artifacts.

In this article, the content analysis mainly used to study the image of heroes in various films. Different kinds of films and different kinds of audiences lead to the creation of different categories of Hero too. Not only Heroes, antiheroes, and sometimes villains, too, received the audience's attention and a heroic image. Various sources of information are collected and interpreted to understand the image of Hero, in Tamil cinema.

The objective of the study

To find out the image of Hero, in Tamil cinema

To find out the changes in the image of Hero

The 'Good guy' as a Hero

The concept of the Hero, in earlier films, is a good guy in all aspects, and the classic example is MarudurGopalamenon Ramachandran alias MGR films. However, many actors contemporary to him followed up the same style of characterization in most of the films. MGR concentrated much on his image building. All the characters MGR has played written with most care. He gives importance to education. Padakotti (1964), Thazhampoo (1965), In Thozhilali(1964), Panathottam (1963), Naan YaenPiranthaen (1972), Kumarikottam (1971), in all these films though MGR belongs to economically weak family nothing stops him in getting a proper education. Born in fisherman family or as a plantation laborer's son, or a manual worker, or need to pledge his house or should work as a paperboy to meet his expenses or a gardener or a bearer in a restaurant is a not a matter to him in achieving what he wants, the education.

Education is not only for elite and wealthy people; it is for all, especially for the poor. In a scene in the film Padakotti (1964), the villain gets the thump impression from the poor employees of him in promissory notes with bad intentions. The uneducated community accepts without any doubt on the employer. However, MGR finds the manipulated content in the documents and saved the uneducated group from the villain. In the film 'Engavettu Pillai' (1965), MGR reveals the real ugly face of the landlord to the co-workers. In all his films, he is particular that education is for all. (MSS Pandiyan, 1992)

He is not only a celebrated actor but also the most celebrated human being. Tamilnadu people elected him as Chief Minister in the state assembly elections from 1977 to 1987 his demise. People of Tamilnadu worshipped him as a god. They even built a temple. (Vaasanthi 2017)

To perform like the right person, one should be a good person. There is no significant difference between reel and real life. It was the ideology of MGR.(R Kannan 2017) Sivaji Ganesan said in an interview in the year 1997 that he thought there was no connection between cinema and politics, but people have proven him wrong. He added further that he acted like a drunk, a womanizer, and in many grey-shaded characters. It is essential to know that he is a successful actor, not a politician, though he was a member of quite a few political parties.

SScriptwriterof the film Thirudathey, M.Lakshmanan suggested another title Nalladhuku Kaalamillai to MGR. However, MGR rejects it since it does not have positivity in the title. The explanation from him is in the first title we say do not steal a positive one, but in the second one, we say goodness stands no chance a negative one to the public who wish to do good. MGR acted as drunk in the film Olivilakku, which he never liked to do on screen. There is a scene in the song that his conscience questions him for being drunk goes on like

Thairiyamaga sol ne manithanthana, manithanthana?

Illai. Ne than orumirugam, anthamathuvilvizhumneram

Ne than orumirugamanthamathuvilvizhumneram

(If you are daring, tell me, are you a human being? No, you are an animal once fallen for liquor). MGR said once, that if he needs to take liquor in the villain's place on the screen, he acts as if drunk but make sure there is a shot that he poured liquor in the flower pot or somewhere (R Kannan). Though many actors

ISSN: 2005-4238 IJAST 11 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 12s, (2020), pp. 09-14 of his contemporary followed the golden rule 'do good on-screen' MGR, no one won the hearts of Tamil people as MGR has done so.

Antihero- As a Hero

Rajinikanth, on the contrary, became a popular hero in the 1980s identified as a style icon for his cigarette flip and smoking. He is the highest-paid actor in India and second highest in Asia during the release of his film, Sivaji, in 2007. In an interview with a National Daily, he said he gets treatment in Singapore hospital for his kidney problem for his smoking habits. However, the actor asked his fans to quit smoking in 2017.

Rajinikanth played various negative characters in many films. In the film, Apoorvaraagagal (1975) as an abusive husband, in Moondrumudichu 1976, as a killer, in the film Avargal (1977) as a jealous and sadistic husband, in the film Gaayathri (1977) as a blue film producer, filming intimate moments of his wife (Sridevi), in the film Netrikan 1981 as a womanizer Rajinikanth never hesitated to receive any grey shades on him on screen. After became popular, Hero selected the characters carefully, and though he played many antiheroes or angry young man concept films, it is not with selfish nature. In the film Baasha 1995, the lead character Manikkam rounded by the villain team, and they tie him in the post and smashed him. It is the most remarkable scene in the film. Even after such violence from the villain, the Hero remains calm and not giving any reactions to it. He was laughing when they were beating him.

Nevertheless, our Hero can tolerate any such things against him but not against sister any woman that matters. In the next scene in the film, the Villain Ananthraj comes in his Maruti van with our Hero's sister. He says in public that he is going to misbehave with her and started doing so. Nevertheless, Manikkam, who never reacted almost near the interval to the family members and audience for any odd behavior against him, shouted at his police officer younger brother as 'Ulle PO.' (Go inside) and the Hero's terrific fight scene. In the hospital, the doctors said someone who has aggressiveness in his blood only could fight like this. Here, the auto driver who has past can go smoothly against anything but not against women and their safety.

Maniratnam directed Nayagan (1987) is considered one of the 100 best films of all time by Times Magazine. It is claimed to be loosely connected with the life of Mumbai's don VaradarajaMudaliyar's real life. In a confrontation scene in this film, VeluNaikkar (Kamal), while explaining to his daughter, Charu about his Don life, says, 'Naalu Peru saapidauthavumnaethuvumethappilla.' (If four people can have their life because of us, nothing is wrong here). Here on the contrary of MGR formula films, the Hero decides to do anything to make his community happy. He has his government, rules, and territory. He has reasons for that, which may not be acceptable to the audience as it sounds to his daughter. Nevertheless, he will remain the same because of the four people he has mentioned.

In the film, VikramVedha actor Madhavan played the Protagonist, and actor Vijay Sethupathy played the antagonist. The antagonist character used to say a dialogue, 'Sir orukadhaisollata?' (Sir Can I tell a story) to the Police officer, Protagonist. After the success of this film, Tamil cinema fans asked him to repeat the dialogue on various occasions. (PrachiSibal 2017).Heros are playing villain roles and vice versa. If the Hero plays a dual role, one of them usually plays a negative role. Ajithkumar in the film Vaali, Simbu in Manmathan, Kamal Hassan in the film Aalavanthan, Vijay in Azhagiya Tamil Mahan, Rajinikanth in Enthiran played negative characters to name a few. To convince the audience about antihero concepts, the script always has the flashback stories. The negative side of the Hero will be justified.

Villain as a Hero

In the film Mankatha 2011, the lead character VinayakMahadevan played by actor Ajithkumar said the dialogue, 'Naanumevvalavunaal than nallavanavenadikkirathu?' (How long can I keep acting like a good person?). Not only that, he further added 'Ellarumkettavan, naan rombakettavan' (all are bad, I am terrible). Not only Ajith, almost seven years later, In the film Maari2 (2018), the conversation between villain played by actor Tovino Thomas and the Hero played by actor Dhanush goes like this,

Villain: 'I am a very, very bad man.'

Hero: 'ha... (Wears the sunglass) If you are bad, I am your dad.'

(Background music rises)

The villain is a bad guy, and the Hero is the worst guy; that is what one needs to understand. In mainstream films, these characters performed by popular actors received well by audiences. The audiences tend to enjoy the villainy act of their favorite heroes.

The villain actor in the film ThaniOruvan Arvind Swamy celebrated like a Hero of the film. It is because of his charm and character. Arun Vijay's character in 'EnnaiArinthal' and Arjun's character in 'IrumbuThiral' also received the same kind of attention. In these cases, these characters played by other heroes of Tamil cinema. (G Dhananjayan 2019)

In the film Jigarthanda, the lead actor Siddharth as a debutant filmmaker wanted to make a film against a gangster Simha. Though the film talks about the struggle of the budding filmmaker in the initial stage, it ends up differently. The Hero in the climax scene is getting the concern from a fellow actor for his next movie in gunpoint. And all the henchmen of Simha teams up the Hero. If one has to achieve, he can do anything in any manner that is finally conveyed.

Not only in these films but most the ‘rowdy’ films are like this only. Unlike MGR days, one can see the difference in film titles too, for example, 'Kettavan' (Bad Boy), 'Baskaroru rascal.'(Baskar is a rascal).

Other aspects

Centralizing all the fan clubs and doing some social service activities is one thing. Officially disband the fan club is also happened in Tamilnadu. Actor Ajith said in the interview with a Daily that he wanted his fans should take care of his family, and he knew that his fans come from different walks of life. He showed his humbleness to the fans and also his brave in another incident. During the felicitation ceremony of ex-CM Karunanidhi, Ajith said that he and his fellow film personalities are forced to attend such political functions.Furthermore, actor Rajinikanth gave him a standing ovation for his bold statement. (India today Janani K 2018)

Actor Vijay faced problems for his film Thalaiva with the subtitle Time to lead. The ruling government of that time in Tamilnadu gave pressure to him because of the subtitle. Thalaiva does not release in Tamilnadu on the scheduled date. However in released in other parts of the country and abroad also. In Tamilnadu, a week later, it is released. In the AR. Murugadoss directed Sarkar film; there is a scene that Mixers and table fans gave as freebies are on the bonfire as a rejection of populism. This scene from Vijay's film is taken seriously by the Jayalalitha government. AIADMK ministers are given warnings to the film team about this scene, which gets them votes in the 2011 and 2016 elections. Theaters seized, and

ISSN: 2005-4238 IJAST 13 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 12s, (2020), pp. 09-14 banners are tore. These issues settled after producer Kalanidhi Maran of sun pictures asked to mute the offending dialogue.

Interestingly the film revolves around section 49p of the conduct of election rules, which ensures voters right. This plot projects actor Vijay's interest in politics. During the release of Kaavalan 2011, Vijay was interested in joining Youth congress, but the ruling government DMK blocked the film's release to show their disinterest. Vijay's father, SA Chandrasekaran, met CM Karunanidhi, and the issue sorted out. Vijay's 'Mersal' also faced issued due to its dialogue about GST from the central government and the objectionable content muted. One of the fans of actor Vijay, Prabhu pointed out in the interview, that the freebie is a brainchild of DayanidhiMaranMaran, Sarkar Producer's brother during the elections in 2006. However, few fans disposed of the freebies, as mentioned in the above-said film, as a token of love towards their favorite star. Freebies are not new to Tamilnadu, staring from cycles, laptops, TVs, mixers, fans grinders are popular among the public.

Like MGR changed his fans as voters, many of the leading actors were trying their success. Though Vijayakanth started a political party and proved his popularity in the 2006 elections with a considerable voting percentage. Kamal Hassan started his political party, and Rajinikanth is saying that time will come to start (G.C.shehar 2018)

Conclusion

Alfred Hitchcock said the success of the film depends upon the weightage of the villain character of the film. If the confrontation of the Hero and the villain is good, the pace of the film will also be good. It is always more comfortable for the fans to guess the actions of Hero if the lead character belongs to the 'Hero' category. He will not think ethically.

Nevertheless, in the case of 'antihero,' they have freedom, unlike the Hero. Though they are not justifiable, they react to the way a common man wanted to react against odd things. Moreover, finally, the' villainous' heroes are entirely unethical. Here box office successes decide everything. If a horror movie collection is excellent, producers will demand supernatural elements in the scripts. Here Villain hero subjects are not popular as of antihero subjects in Tamil cinema.

References

1. Making Meaning in Indian Cinema by Ravi S. Vasudevan (Editor) Publisher: Oxford University Press, USA (December 27, 2001) 2. The Image Trap: M G Ramachandran in Film and Politics, MSS Pandiyan 1992, SAGE publications 3. MGR A Life, R Kannan, 2017 Penguin Random House India. 4. Tamil Cinema: The Cultural Politics of India's Other Film Industry, SelvarajVelayutham 2008, Routledge 5. The Image of the Hero, in contemporary Tamil cinema: A study on films & youth, V Prabakaran, 2004 the University of Madras M Phil Thesis (Unpublished)