Why Vijay’s political debut is more than just a star’s gamble

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Why Vijay’s political debut is more than just a star’s gamble

Thursday, 21 November 2024 | ASHRAF NEHAL

Why Vijay’s political debut is more than just a star’s gamble

Tamil Nadu’s political DNA, shaped by social movements and cinema, is at a crossroads, making Vijay’s foray into politics a litmus test for the survival of its unique ethos

The moment Vijay announced Tamizhaga Vetri Kazhagam, every political pundit worth their salt rushed to make the laziest possible comparison – MGR. As if Tamil Nadu’s political theatre hasn’t evolved since the 1960s. As if you could just slip on a white veshti, throw some punch dialogues about social justice and waltz into Fort St George. The state that turned cinema halls into political amphitheatres has moved on from simple hero worship, even if our stars haven’t gotten the memo. But here’s why Vijay’s entry matters more than the usual “another-actor-turned-politician” headlines suggest. Tamil Nadu stands as the last major fortress against the BJP’s pan-India steamroller, and its unique cinema-politics DNA is facing its biggest stress test since the anti-Hindi agitations.

Vijay isn’t just launching a party; he’s entering a battlefield where the very soul of Tamil political identity is up for grabs. From Anti-Hindi Activism to System Bashing: How Tamil Cinema Shaped the State’s Polity To understand the significance of Vijay’s political debut, we must revisit the historical context that made cinema an integral part of Tamil Nadu’s political landscape. During the Dravidian movement of the 1930s, leaders like CN Annadurai and M Karunanidhi recognised the power of the silver screen as a vehicle for social messaging and cultural assertion. They infused their political ideologies into film narratives, using the medium to communicate anti-caste, anti-Hindi, and pro-Dravidian sentiments to the masses.

This strategic use of cinema allowed the Dravida Munnetra Kazhagam (DMK) to effectively mobilise support, blurring the lines between entertainment and political propaganda. As the party rose to power, its leaders-turned-filmmakers continued to leverage the screen as a platform for their agenda, cementing the enduring bond between Tamil cinema and politics. The emergence of MG Ramachandran (MGR) as both a screen icon and a political force further solidified this dynamic. MGR’s on-screen persona as a champion of the poor seamlessly translated into his political persona, allowing him to harness his fan following to catapult himself into the Chief Minister’s office. Jayalalithaa, his protégée, followed a similar path, using her cinematic appeal and association with MGR to establish the All India Anna Dravida Munnetra Kazhagam (AIADMK) as a formidable political force.

The Changing Landscape: From MGR’s white dhoti to Vijay’s anti-establishment punches the success of MGR and Jayalalithaa, however, was rooted in the specific socio-political context of their times. They rode the wave of Dravidian politics when cinema was the most powerful medium for political messaging, and their on-screen personas resonated with the prevailing social and cultural narratives. But as Tamil Nadu’s political landscape evolved, the old formula of leveraging fan clubs and punch dialogues into votes began to show its limitations. The attempts by actors like Rajinikanth and Kamal Haasan to replicate the MGR-Jayalalithaa model highlight this shift. Rajinikanth’s “spiritual politics” and Kamal Haasan’s intellectual brand failed to translate into sustainable electoral success, as they struggled to bridge the gap between reel and real politics. Their political journeys proved that even the charisma of established stars could not overcome the increasing sophistication of Tamil voters.

Enter Vijay, the current contender for Tamil Nadu’s political crown. His films, often laced with anti-establishment undertones and social justice messaging, have made him a favourite among the youth. Movies like “Sarkar,” which criticised government corruption, and “Master,” which addressed issues of caste and marginalisation, have resonated with a new generation of politically aware voters. However, Vijay’s political ambitions face a different set of challenges compared to his predecessors. Today’s Tamil voters are performing a complex balancing act: celebrating their stars’ on-screen heroics while subjecting their real-world actions to brutal scrutiny.

The parasocial relationship between stars and fans has been disrupted by the harsh light of social media and political consciousness.The same youngsters who made “Sarkar” a blockbuster didn’t hesitate to call out Vijay’s convenient silence on crucial issues like NEET, farm laws, and other pressing concerns. This isn’t the era where you can play a poor man’s saviour on screen and translate that image into votes. The fourth wall hasn’t just been broken – it’s been shattered by smartphones and social awareness.

The New Battleground: When Cinema’s Political Grip Faces the BJP’s Hindutva Ambitions The stakes, however, extend far beyond Vijay’s political fortunes. The BJP’s aggressive push into Tamil Nadu has changed the game entirely, turning the state into the last major battlefield in India’s culture wars. In neighbouring Andhra Pradesh, the party has found an unlikely ally in Pawan Kalyan, whose Jana Sena Party has aligned with the BJP’s Hindutva agenda. This strategic move represents the BJP’s attempt to leverage regional star power to penetrate a state that has traditionally been resistant to its brand of Hindu nationalism. But the challenge in Tamil Nadu is far more complex. The state’s unique political DNA – that potent mix of language pride, social justice, and regional autonomy – was forged in decades of Dravidian movements and anti-Hindi agitations. It’s a political consciousness that sees through the superficial application of North Indian templates, whether in the form of star power or Hindutva ideology.

The BJP’s desperation in the South is palpable. They’re acting like a Bollywood producer trying to crack the Tamil market – throwing big names and bigger budgets at the problem while misunderstanding the audience. Their star recruitment drive isn’t working because South Indian political consciousness wasn’t built in cinema halls alone; it was forged in the crucible of social movements and linguistic pride.

As Tamil Nadu faces pressure from an increasingly assertive centre, the old model of star politics looks increasingly inadequate for the challenges ahead. The real question isn’t whether Vijay can succeed where Rajini and Kamal failed – it’s whether Tamil Nadu’s political future will still be written on cinema screens at all.

The credits are rolling on Tamil cinema’s old political playbook, but the sequel isn’t about star power anymore. It’s about whether Tamil Nadu’s unique political identity can survive in an India that’s increasingly hostile to regional distinctiveness. And that’s a script no amount of mass hero entries can salvage.

(The writer is Postgraduate Scholar of South Asian Geopolitics,School of Oriental and African Studies, University of London; views are personal)

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