Real Name Shivaji Rao Gaikwad
Date of Birth December 12,1949
Time of Birth 11:54 P.M.
Place of Birth Bangalore
Height 5 feet 9 inch
Weight 70 Kg
Address 18, Raghava Veera Avenue, Poes Garden, Chennai-86
Father Ramoji Rao
Brother Sathya Narayana Rao & Nageshwara Rao
Name of Spouse Mrs. Latha Rajinikanth, Principal, The Ashram
Date of Marriage 26.02.1981 4:30 A.M
Children Aishwarya & Sowandarya
Spiritual Guru Satchithananda Swamiji
God Shri Raghavendra
Books Books written by Shri Ramana Maharishi
Drinks Juice & Curd
Foods Chicken & Mutton items
Dress White Kurtha
Place in House Pooja Room
Proverb Beware of Everything -that is un true; stick to the Truth shall succeed slowly but steadily
Novel Kalki's Ponniyin Selvan & T. Janakiraman's Amma Vanthal
Film Veera Kesari (Kannada)
Politician Singapore President Lee Quan-u
Hollywood Actor Sylvester Stallone
Indian Actor Kamalhaasan
Actress Rekha (Hindi)
Role Romantic Roles
Happiest Moments To be alone
Worst Moments Left the job of Conductor
Worst Period 1978 - 1981
Unforgettable Man K.Balachandar
Unforgettable Friend Sri Priya
Unforgettable Leader Mahatma Gandhiji
First Film Aboorva Ragangal
50th Film Tiger (Telugu)
100th Film Shri Raghavendrar
125th Film Rajathi Raja
150th Film Padyappa
Most Valuable Item Appreciation Letter from K.Balachander for the film "Mullum Malarum"
Mahatma Gandhiji Form of Truth; Great Yogi
Bharathiar Real Rebel Poet
Periyar Real Spiritualist
Annadurai Great Leader
Rajinikanth I live for myself ; I don't care anybody but I respect everybody
Message to Fans Live & Let Live
Rajini's First Language Movies
* Tamil - Aboorva Raagangal (18.08.1975)
* Kannadam - Katha Sangama (23.01.1976)
* Telugu - Anthuleni Katha (27.02.1976)
* Malayalam - Allauddinum Albhutha Vilakkum (14.04.1979)
* Hindi - Andhaa Kaanoon (07.04.1983)
* English - Bloodstone (07.10.1988)
* Bengali - Baghya Devatha
* Positive Role Movie - Kavikuyil (1977)
* Colour Film : 16 Vayathinelle (1977)
* Silver Jubilee Film Anthu Leni Katha (Telugu) (1976)
* Tamil Silver Jubilee Film 16 Vayathinile (1977)
* Solo Hero Movie & also "Superstar Title" - Bairavi (1978)
* Film shot in overseas - Priya (1978)
* Film with Sivaji Ganesan - Justice Gopinath (1978)
* Double Role - Billa (1980)
* Cinemascope - Pollathavan (1980)
* Film without moustache - Thillu Mullu (1981)
* Triple Role - Moondru Mugam (1982)
* Own Production : Maveeran (1986)
* Song sung by Rajini : Adikuthu Kuliru (Mannan) (1992)
* Own Screenplay and Story : Valli (1993)
Highest Remake Movies is from Amithab Bachan and they are
* Billa - Don
* Ram Robert Rahim - Amar Akbar Antony
* Thee - Diwar
* Naan Vazavaipen - Majboor
* Padikkathavan - Khuddar
* Mr. Bharath - Trisool
* Maaveeran - Mard
* Siva - Khoon Pasina
* Velaikkaran - Namak Halal
* Panakkaran - Laawaris
* Badsha - Outline of HUM
* Dharmathin Thalivan - Kasme Vaade
Rajini, the real mantra of Tamil Nadu. There are fan associations across Tamil Nadu dedicated to him. Many more than for any other Tamil star, past or present. Rajinikanth, the carpenter-turned-coolie-turned-conductor-turned Super Star says: “I couldn’t have asked God for more.”
A bit of a recluse, Rajni may be. But everyone who’s had the privelege of a darshan with the thalaivar has come away with a spring in his step and a warm glow in the heart. Warm, friendly and affable, he’s the sort who deserves all the superstardom he’s earned. Such men, indeed, are rare...
It’s been 25 years, believe it or not, since the Periya Thalaivar (big boss) made his debut with an inconsequential role in a Tamil film. From villain and antihero to blockbuster supernova, the gifted actor has made the most of every outing. And he’s deserved every bit of the success. SCREEN analyses why...
It's a wide angle shot. A man is seen opening a gate, dressed in rags and smoking a beedi. A terminally ill disease writ large on his face. Precisely on that frame appears the Sanskrit term shruthi bedham, coupled with an off screen voice, an undoubtedly inauspicious start to any debutante’s first screen appearance, especially in the maiden frame.
The film was Apoorva Raagangal (1975). The film itself was thick in controversy, and nobody took notice of the young newcomer, who was on screen barely for fifteen minutes, muttered a few apologetic words to the wronged woman and ultimately died an unsung, unheroic death.
No one in the audience, even in his wildest imagination, would have thought this nondescript man, who had won the least attention in the film would ever win over millions of hearts in Tamil Nadu. Or ride the state like a colossus. Or even that his sway over the masses would be so intense that he could rewrite the fate of Tamil Nadu politics, exactly two decades after the release of his first film.
K Balachander, the director who has an uncanny knack of creating stars, first met Rajnikant at the film institute, where he was a student. Balachander glanced at the dark young man and crisply asked him to meet him in his office the next day. When Rajnikant walked into his office gingerly, Balachander informed him he was going to act in his next film. Overwhelmed by the sudden offer from a ‘big’ director, Rajnikant just could not believe his ears. It’s a feeling Rajni still recounts whenever in the mood of reminiscence.
Later, Balachander confided in his close friend and associate Ananthu, “Watch out! There is a fire in the young man’s eyes. One day he will take Tamil Nadu by storm.” How true the prediction turned out!
Producers went all out to capitalise on this new “wonder” called Rajnikant, and a string of films projecting him as an anti-hero, with all his stylish mannerisms in full swing, were released in quick succession. Gayathri had him shooting blue films of his wife without her knowledge, Bhairavi, Shankar Salim Simon and the like. Rajni had, by now, become an indisputable star in his own right, a force to reckon with.
Though Rajnikant persistently refers to K Balachander as his “guru”, it was director SP Muthuraman who actually revamped Rajni’s image entirely. Muthuraman first experimented with him in a positive role in Bhuvana Oru Kelvikkuri, as a villain in the first half and a refined man in the second, accepting a woman with a child ditched by her lover. The success of Bhuvana Oru Kelvikkuri prompted SPM to make a mushy melodrama with Rajni as a hero sacrificing everything for his siblings, a role ideally tailormade for Sivaji Ganesan! That film was Arulirunthu Arupathu Varai, in which Rajni’s mannerisms were totally missing and he even appeared as an old man in the last few frames. Even while the film was in the making, Rajni had misgivings about whether the audience would accept him in tear jerkers of this kind. But the film got made and its box-office success made Rajni popular among women audiences, too. These two films were a turning point in Rajni’s career — he changed from an actor who merely enthralled the audiences, to one who also made them weep. The acceptance of Rajni sans his mannerisms proved he’d at last become an actor from a star. Around this time came Mullum Malarum, directed by J Mahendran, which established Rajni as a hero with a slight tinge of the negative.
Rajnikant’s entry may have been humble, in an insignificant role but the success he achieved in a very short span was unimaginable. A popular Tamil magazine brought out a special supplement at a time when his still on the make, and, he presto, the magazine’s sales doubled with that issue alone.
Such mass adulation, the thunderous rain of applause when Rajni delivered his lines, all put together, made him a phenomenon. It was at this point that Rajni realised the onus had been thrust on him. The fate of producers hinged on him alone. This sudden exposure to the glare of the media and the popularity and money he never imagined would be his, created a lot of stress in his mind. At that crucial time in his career when his market price had just begun to zoom, he decided to opt out of films completely, sending shock waves to his fans. Balachander, Kamalhaasan and his other well-wishers somehow, coaxed him into staying on.
The second phase of his life started with K Balaji’s Billa, a superhit disproving the canard spread by detractors that Rajnikant was “finished”. He was accepted as a full-fledged hero. Billa was followed by a row of hits like Pokkiri Raja, Thanikkattu Raja, Naan Mahaan Alla and the all-important Moondru Mugham, in which Rajni essayed a triple role. Even two decades after its release, the last continues to be a box-office draw and Rajni’s fans can never tire of the thalaivar’s verbal clash with villain Senthamarai. K Balachander’s first home production, Nettrikkam proved to be yet another milestone in Rajni’s career.
An analysis of Rajni’s career graph shows a remarkable absence of fits and starts. It has been a slow and steady rise to the very top. As Rajni sings in a hit song from Badshah, a man’s life may be divided into eight divisions. Rajni’s own career may be divided into three segments. The first as a villain, the second as a hero with negative traits, and the third and present phase, as the reigning czar of Tamil filmdom. With Rajni’s films fetching crores and his market price skyrocketing, the costs of production of his films became unmanageable. And Rajni has since had to stick to a one film per year formula, sometimes, he could do a film once in two years.
The new trend where his films’ collections exceed normal regional film expectations started off with Badshah, followed by Annamalai, Arunachalam, Ejaman, Muthu and Padayappa. It’s now an accepted fact that only a Rajnikant film can break records set by his own films.
As an actor, Rajnikant’s greatest asset, apart from his style is his sense of humour and comic timing. Like Amitabh Bachchan is popular for his drunken soliloquies, Rajnikant is famous for his comic encounters with snakes, repeated umpteen times.
In the early 80s, Rajnikant made a foray into Bollywood with Andhaa Kanoon, a superhit. But Rajnikant could not concentrate on Hindi films because he was already safely ensconced down South. He still made a few films in Hindi, to mention specially Chaalbaaz which had Sridevi in a dual role. Rajni also enjoys a special kind of popularity in Telugu films and his Peddarayudu (remake of Tamil hit Nattammai) seems to have broken all previous records. The Telugu version of Padayappa has been a money-spinner, too. Rajnikant became a trendsetter recently with his Muthu and its songs becoming a rage in Japan and now, Padayappa running to packed houses in the UK and USA.
Basically a religious person, Rajnikant has always owned up his faith. “I was brought up by the Ramakrishna Mission and it’s from there that I have inherited this religious frame of mind,” he keeps saying. Even his films have him openly sharing his faith. In Arunachalam he mouths that famous line, “God decides and Arunachalam executes it.” His public meetings are always spiced with humour and embellished with anecdotes from mythology.
Married to Lata, an English literature graduate, hailing from an elite Iyengar family in 1980, Rajni has two daughters who are carefully kept away from the limelight. Lata herself a versatile singer, now runs a school called The Ashram. The couple indulges in a lot of charity, the latest being converting his Raghavendra Kalyana Mandapam into a charitable trust to help the poor and needy.
Ego and starry airs are unknown to Rajnikant. During breaks he hardly ever rushes to his air-conditioned makeup room. Instead, he prefers to sleep on the sets, even without a pillow, merely covering his eyes with a wet cloth. He never comes to functions with a retinue behind him and even prefers to drive his own car.
Rajnikant’s phenomenal success and his sway over the masses make people speculate whether he will follow the footsteps of the late MGR and enter politics. Though there has been a lot of pressure on him to enter politics by the likes of actor turned journalist, Cho Ramaswamy (“Rajnikant is the best choice for chief ministership because he has a basic integrity and simplicity, a quality which is very rare these days”) Rajnikant has persistently maintained a diplomatic silence, except for the fact that he openly supported the ruling DMK in the last assembly elections and discreetly in the recent Lok Sabha elections. When pressed, Rajnikant answers in his own inimitable style, “Yesterday I was a conductor, today I’m a star, tomorrow what I’ll be only He knows!”
A bit of a recluse, he may be at heart, but everyone who’s had the privilege of a darshan with the thalaivar has come away with a spring in his step, and a warm glow in his heart. Warm, friendly and affable, he’s the sort who deserves all the superstardom he’s earned. Such men, indeed, are rare.
Powered by a strong desire to become an actor, Rajinikanth went to Madras, the tinsel town of Tamil Cinema. He was helped by a friend to join the Madras Film institute and completed his acting course in 1974.
Rajinikanth got his first break in movies when he played a small role in kannada movie "katha sangama" of late director Puttanna kanagal. Later he in tamil he played as cancer-patient in the movie Apoorva Raagangal (1975). This film was directed by K. Balachandar, whom Rajinikanth considers his mentor, and who named him Rajnikanth. This movie also starred Kamal Hassan in the lead role, who became one of his closest friends. The movie that fetched Rajinikanth a wide recognition was Moondru Mudichu (1976), in which he played the role of a cruel womanizer. He followed it up with movies like 16 Vayadhinile , Gayathri, which cast him in villainous and anti-hero roles. Director S. P. Muthuraman first experimented with him in a positive role in Bhuvana Oru Kelvikkuri, in which Rajinikanth played a villain in the first half and a refined man in the second. Then Rajinikanth slowly moved on to playing positive and character roles in movies like Mullum malarum, Arilirundhu arubathu varai. Films Billa, Pokkiri raja and the like saw him playing stylish action roles while Murattu kalai, Payum puli and Moondru mugam took him to dizzy heights. He was also good at comedy as can be seen in Thillu mullu (1981). But the most unique among his movies was Sri Raghavendra (1985) "his 100th film"which was a biographical portrait of Hindu saint Raghavendra Swami.Some of the best dramatic movies of Mr.Rajinikanth would be pudhu kavithai and aarulirundhu arubadhuvarai.In pudhukavithai,he depicts a person who has lost his lady love and roams as a drunkard in the roads of bangalore,and their reunion is picturised in the best way possible.The sweet romance feel is given by none other than the Maestro illayaraja.
The late 1980s saw him doing more and more action oriented family entertrainers like Velaikkaran, Manidhan, Dharmathin thalaivan, etc., and it was never looking back for Rajinikanth. His movies made in the 1990s became mass blockbusters. Some of these include Annamalai, Baasha, Padayappa. These movies also had a tinge of politics.
His another blockbuster Chandramuki (April 2005) which is a remake of the malayalam blockbuster movie "Manichitrathazhu" starring Superstar Mohanlal (also remade in Kannada as "Aaptamithra"). Chandramuki has broken all the box office records of all movies ever made in any Indian film industry. It was made after his previous movie Baba (2002) was not so successful.
Rajinikanth is popular for his flamboyant dialogue delivery and characteristic mannerisms. While contemporary actor Kamal Hassan selects performance oriented roles, Rajinikanth's movies has been mass entertainers. His movies invariably has a 'good win over evil' theme with entertaining action sequences, catchy songs and good natured humour, which makes his films liked by people of all age groups and all walks of life.
Rajinikanth has acted in over 170 films including movies in Telugu, Kannada, Malayalam, Hindi and Bengali. He has also acted in one Hollywood movie (Blood stone in 1988). He has acted along with notable actors like Sivaji Ganesan, Amitabh Bachchan, Kamal Hassan, Mammooty and Sridevi. He has worked with famous directors like Mani Ratnam and Bharatiraja.
In his 32 year long career, Rajini acted in more than 100 movies. In 2007, he acted in his 100th Tamil movie- Sivaji: The Boss which did a tremendous a business all around the world.
Unfortunately, Rajinikanth could not see much success in Hindi movies. It is not only Rajini but almost all the famous South Indian film stars who could not gain much popularity in the Hindi film industry. Still, Rajinikanth is the unspoken king of Tamil cinema and commends huge fan following which even would make Shahrukh Khan and Amitabh Bachchan very jealous. Not only in terms of fan following, but Rajini is also the highest paid actor in the entire Indian film industry. He gets Rs. 150million per film plus a share of the film’s revenue. For Sivaji: The Boss he took Rs. 160million.
Sultan - The Warrior(2008) - voice only
Shivaji (2007) - Shivaji Arumugam
Chandramukhi (2005) - Dr.Saravanan (as Super Star Rajinikanth)
Aaghaaz (2000) - Himself (a scene from a movie)
Bulandi (2000) - Ghajraj Thakur
Padaiyappa (1999) - Padaiyappa
Dancing Maharaja II - Yajaman (1998)
Arunachalam (1997) - Arunachalam
Aatank Hi Aatank (1995) - Munna (as Rajnikant)
Badsha (1995) - Badsha/Manickam
Muthu (1995) - Muthu
Peda Rayudu (1995) - Murdered Village Chief
Veera (1994) - Muthuveerappan "Veera"
Insaniyat Ke Devta (1993) - Anwar
Tyagi (1992) - Shankar G. 'Dadhu' Dayal
Annamalai (1992) - Annamalai
Chor Ke Ghar Chorni (1992)
Pandian (1992) - Pandiyan
Shanti Kranti (1991)
Dharma Dorai (1991)
Farishtay (1991) - Inspector Arjun Singh Thanghe
Hum (1991) - Kumar (as Rajnikant)
Khoon Ka Karz (1991) - Kishan/Assistant Commissioner Yamdoot
Nattukku Oru Nallavan (1991)
Phool Bane Angaarey (1991) - Inspector Ranjit Singh (as Rajnikant)
Thalapathi (1991) - Surya
Adisaya Piravi (1990)
Kishen Kanhaiya (1990) - Himself (a scene from a movie)
Bhrashtachar (1989) - Abdul Sattar
ChaalBaaz (1989) - Jaggu
Gair Kanooni (1989)
Kodiparakkudu (1989) - Erode Shivagiri/Dada
Raajadhi Raaja (1989)
Bloodstone (1988) - Shyam Sabu (as Rajni Kanth)
Dharmathin Thalaivan (1988)
Guru Sisyan (1988)
Tamacha (1988) - Vikram Pratap Singh
Daku Hasina (1987) - Mangal Singh
Uttar Dakshin (1987)
Asli Naqli (1986) - Birju Ustad (as Rajnikant)
Bhagwan Dada (1986) - Bhagwaan Dada
Mr. Bharath (1986)
Naan Adimai Illai (1986)
Bewafai (1985) - Ranvir
Ek Saudagar (1985) - Kishore
Geraftaar (1985) - Insp. Hussein (as Rajnikant)
Mahaguru (1985) - Vijay (Maha Guru)
Naan Sigappu Manithan (1985)
Sree Raaghavendar (1985) - Venkatanathan
Unn Kannil Neer Vazhindal (1985)
Wafadaar (1985) - Ranga
Anbulla Rajanikant (1984)
Bhooka Sher (1984)
Insaaf Kaun Karega (1984)
John Jani Janardhan (1984) - Janardhan Gupta
Kai Kodukkam Kai (1984) - Kaalimuthu
Meri Adalat (1984)
Naan Mahaan Alla (1984)
Nallavanukku Nallavan (1984)
Thambikku Entha Ooru (1984)
Zulm Ki Zanjeer (1984)
Adutha Varisu (1983)
Andha Kanoon (1983) - Vijay Kumar Singh
Paayum Puli (1983)
Sivappu Sooriyan (1983)
Thanga Magan (1983)
Agni Sakshi (1982)
Engeyo Ketta Kural (1982)
Pokkiri Raja (1982)
Pudhu Kavithai (1982)
Thanikatu Raja (1982)
Black Cobra (1981)
Netri Kann (1981)
Ranuva Veeran (1981)
Thillu Mullu (1981)
Anbukku Naan Adimai (1980)
Billa (1980) - Billa
Ellaam Un Kairaasi (1980)
Kaali (1980) - Kaali
Murattu Kaalai (1980) - Kaaliyan
Naan Potta Savaal (1980)
Aarilirindhu Aruvathu Varai (1979)
Alavuddinum Athbutha Vilakkum (1979) - Kamruddin
Annai Oru Aalayam (1979)
Dharma Yuddham (1979)
Kuppathu Raja (1979)
Naan Vaazha Vaippen (1979) - Michael
Ninaithale Inikkum (1979)
Thai Illamal Naan Illai (1979)
Aval Appadithaan (1978) - Advertising Boss
Ilamai Oonjal Aadukirathu (1978) - Murli
Mullum Malarum (1978) - Kali
Shankar Saleem Simon (1978)
Thappitha Thala (1978)
Aadu Puli Atham (1977)
Avargal (1977) - Ramnath
Bhuvana Oru Kelvikkuri (1977)
Chilakamma Cheppindi (1977) - Kasi
Pathinaru Vayathinile (1977) - Parattayan
Anthuleni Katha (1976) - Murthy
Moondru Mudichu (1976)
Apoorva Raagangal (1975)
Katha Sangama (1975)
Kotha Bangaru Lokam Copied Scenes
Real Name Shivaji Rao Gaikwad
Power star Pawan Kalyan’s PULI is stalled for 21 days as the director SJ Surya met with an accident and has been advised for a complete bed rest. But according to some close sources Pawan on Sunday tried to contact bollywood’s hot babe Katrina Kaif. But her PR spoke to Pawan on Sunday. Then on Tuesday it is reported that Pawan directly spoke to Katrina Kaif.
It can be reconciled that still his PULI’s first female lead is in a dilemma. Many heroines are being considered like Priyanka, Kareena, Sneha Ullal, Hansika and now Katrina Kaif.
But still the official announcement is not done yet. Recently it was discussed that since Sneha Ullal has some resemblance of Aishwarya, she may be signed, but as time passed these stories vanished.
So it can be reported that Katrina kaif can be the first female lead as she has already acted in tollywood opposite to Venkatesh and Balaya.
Pawan is well known for his skyscraping thinking attitude. So may be Katrina Kaif can be his love in PULI. Parvathi Melton is the second heroine in this film
Banner: Flying Frogs
Music: Sekhar Chandra
Cinematography: Sudhakar Reddy
Stunts: Kanal Kannan
Screenplay: Paruchuri Brothers (Paruchuri Venkateswara Rao , Paruchuri Gopal Krishna )
Written & Directed by: Ravi Babu
Producer: Ravi Babu
Release date: 21 December 2007
anasuya Anasuya is an orphan and a post graduate in criminal psychology. She joins a TV channel as a reporter. She is entrusted with a job to crack the secrets behind mysterious serial killings followed by a collecting of body organs. The killer always leaves a rose at the crime scene as the proof of his identity. Meanwhile, a cop (Abbas) is also bestowed with the responsibility to solve the mystery. The rest of the story is all about how Anasuya chases the serial killer and unravels the mystery behind his killings.
anasuya Bhumika Chawla is perfect in the role of Anasuya. A character like Anasuya needs an able actress like Bhumika Chawla who has got command over histrionics. She did a good job with subtle and terse expression. Abbas is alright for the role in male lead. Ravi Babu looks deadly and he shaved off his eyebrows to look ghastly. Ankita did a miniscule role and Nikhita did a vital role. Harsha and Sameer did well among the others.
Story - screenplay - direction: Story of the film is good. But what makes this film special is the screenplay. Each and every character is nicely connected with the main storyline. The director succeeded in maintaining the suspense of the film till interval. But the film goes on a predictable mode in the second half. Direction of the film is adequate.
Other departments: Music (especially the background score) by Sekhar Chandra is good. Cinematography by Sudhakar Reddy is an asset. The director did not use much lights for the night shots as it is a thriller. Nivas dialogues are adequate. Editing by Marthand K Venkatesh is fair.