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His popularity in the Japanese archipelago can come as a surprise. Mr. Takeda estimates there are about 3,000 members of the Rajinikanth fan club in Tokyo alone, with other clubs also active in cities like Osaka and Kobe. The fans watch Rajini movies obsessively and organise special viewings. Some, like Mr. Takeda, have even learnt Tamil.

The influence of Rajinikanth has been far reaching for some. In 2008, Mr. Takeda and a fellow fan, Shinji Kashima, set up a Tokyo-based south Indian food catering business called Masalawala. They now make a living serving sambar, vadas, rasam and the like in fully traditional style on banana leaves. Ms. Mikan teaches Indian movie-style dancing at a dance school in Tokyo, while Atsuko, another woman fan, has become a henna artist.

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India has long exerted a civilisational pull in Japan. Buddhism, a religion that is foundational to Japanese culture, was an Indian import. Rajinikanth is an unlikely successor to the Buddha, but globally the entertainment industry is a powerful purveyor of soft power. When the then Indian Prime Minister Manmohan Singh visited Tokyo in 2006, his mention of Muthu in an address to the Japanese Parliament garnered one of the strongest rounds of applause. Unfortunately for Rajini fans the success of Muthu has not been replicated even though several of his movies, including Ejaman , Badsha , Robo and Arunachalam have had a limited release in Japan.

The memory of Muthu, continues to be very strong in Japan and it was hailed as the cultural ambassador between the two countries. It may be recalled that our ex Prime Minister Dr.Manmohan Singh mentioned the movie as a cultural ambassador between India and Japan in his address to the Japanese Parliament in Oct 2006.

Anyway at the same time, Tamil cinema got a second major boost, post 1992 there was a rise of superhero-centric movies or city-centric movies. In this period more directors like K.S Ravi Kumar, Mani Ratnam, Shankar etc came up and double boosted the Tamil cinema with their extra-ordinary movies. Movies like Roja, Bombay, Baasha, Padayappa had pan Indian appeal and was accepted well in Kerala.

That is when our Magnus Opus A.R Rahman attracted youngsters with songs like Chikku bukku Rayile, Telephone Manipol, Mukkala Mukkabla, Gemini Gemini, etc from Tamil Industry. Our dhaaridhrayam for songs were so bad that we celebrated songs of absolute nonsensical movies. Jassie Gift was our only bragging right back then. Nillu Nillu Ente Neelakuyile, Themma Themmadi kaate being some of them. Other medium, where youngsters took solace in their teenage years were in Malayalam Album songs.

Why songs are so relevant? Because songs brought people to the theatres. Up until pre-Jio revolution, it was the most successful way of marketing a movie. Now we've digital posters, teasers, trailers, interviews, PR shows, reviews, trailer's teaser and what not. Heck! Even today, you cannot discard the potency of video songs for theatre occupation. Arabic kuthu (Beast), Ponni Nadhi (PS-1) are some recent examples.

Until the 1990s, Malayalam movies completely ignored the value of action sequences and rarely had any concept of superhero or macho heroism. Meanwhile Tamil movies created this genre and perfected it with stars like Rajinikanth, Arjunkumar, Sarath. This genre still continues with actors like Ajith, Karthi, Dhanush etc. attracting many youngsters, particularly boys and men to cinemas to enjoy such superheroism and action sequences.

We also tried copying the genre and had both ups and downs. Shaji Kailas and Joshiy came at the top mastering this genre but when their films started saturating with similar themes, couple of the subsequent ones bombed at the Box office. Mohanlal, Dileep tried a bit of Rajinikanth in 2000s, only to end up losing BO and finally came back to their common man image. And its again this deficiency which helped Tamil movies.

We had a dumb concept of classifying theatres into A, B, C classes where A Class theatres represented the traditional air-conditioned theatres in city centres which were called Releasing centres. The B and C class theatres were poor in facilities and hence were not given new releases at the time of the release. This concept existed because Class A theatre owners used to fund the production of the movies protecting their interest. So when a new Malayalam movie gets released it will be played only in A Class theatres for the first one or two months and then trickle down to the B and C.

Meanwhile, Tamil movies enjoyed wider release in Kerala irrespective of A or B or C class theatres. So, many B Class theatres played Tamil movies much longer until they get a new Malayalam release. So people in smaller towns, village areas patronized a lot of Tamil movies. This helped many to be familiar with such movies and enjoy it, which further fuelled more interest leading to the rise of Tamil movie stars fan clubs etc. It was only recently Malayalam industry broke this stupid ritual and embraced the wide releasing culture.

A good percentage of Tamil words are there in Malayalam vocabulary and are easy to understand, so they're mutually intelligible. However, there is an interesting aspect here, Malayalam has a lot of Sanskrit words and pronunciations even in causally spoken Malayalam. In addition, Malayalam has the highest number of loan words from other languages like Arabic, Japanese, Dutch, Chinese, Portuguese, Hebrew etc out of all the Indian languages. On contrary Tamil has least foreign languages influence in its local parlance. So did the influence of Sanskrit too. This makes Tamilians find it harder to understand Malayalam used in Malayalam movies, while Malayalees who have Tamil vocabulary in the Malayalam language find it easier to understand.

From Tamil, we jumped to Hindi, Telugu, Kannada, we crossed continents to watch movies. It became a socio-cultural zeitgeist for malayalee cinema-praanthanmaar. We weren't defensive about exposing ourselves to different languages and culture that is alien to us. There could be multiple reasons for it. My speculation says it's 'the diversity within our geography, the literacy rate, the limited media culture promoting Hindi through Dooradharshan channels and AIR. Speaking of this, I remember now a globally held filmmaker or someone highly regarded, mention a small place in India called Kerala has the most refined cinema audience. I'm unable to recall his/her name. Anyway....

Actors themselves were catalyst in fuelling our viewership of Tamil movies. A lot of the Malayalam actors have acted in Tamil cinema in both leading and side character roles. Mani Ratnam's celebrated movie "Thalapathi"(1991), showcased Malayalam actors like Mammootty, Shobhana, Manoj K Jayan etc. This caught the eyes of many malayalees to engage with Tamil cinema. Kamal Hassan, Chiyaan Vikram, Rahman, Seema, Urvasi, Bhanupriya, Geetha, Ambika etc. have exchanged good amount of screen time in both the industry promoting the lopsided viewership. This trick is still employed by current gen directors like Lokesh Kanakaraj for wider market and talent factors.

Sunnetwork, a mass media broadcasting company headquartered in Chennai, Tamil Nadu operated many prominent channels like Surya TV, Kiran TV which aired a lot of Tamil movies and songs pushing our affinity for Tamil movies. To a post 2000 malayalee generation, this media culture was a normalcy and so became Tamil movies.

And did I mention about production houses playing their active role in promoting their movies for larger audience in order to recoup their investment? They partner with leading distribution houses in Kerala and make huge promotions. So, even if an actor like Vijay refrained from growing his stardom, the big power houses would do it on his behalf owing to market sentiments.

As Rajinikanth's latest movie, Kaala, releases today, the Japanese fans along with the Indian ones are very excited. A report in The News Minute says that two Japanese even flew down to Chennai to catch the first-day-first-show of the latest gangster movie, Kaala. They can even roll out the dialogues with equal elan as a Tamil fan. But what is the Japan connection? Why are the Japanese excited about Kaala? It all began in 1998, with the release of Rajinikanth-starrer Muthu in Japan. When Muthu was released in the country, Japan was reeling under the effects of an economic stagnation that had dragged on for around 7 years. The Lost Decade, as they call it, refers to the ten years following the burst of the Japanese economic bubble in 1991-92. With jobs lost and a stagnated economy, the Japanese were angst-ridden with no seeming relief in sight. Then along came Muthu, with Rajinikanth flaunting his swag, his signature dance moves and clothes that are poles apart from the Japanese's aesthetic -the same things that make Indian fans go wild. Muthu is, in short, the story of a hard-working, loyal and kind person who looks after the horses of a zamindar. The Japanese saw a kindred spirit in Muthu and soon took a liking to the superstar. The movie ran for 23 weeks and earned $1.6 million. Since then, there has been a cult following in Japan.

The adulation that the superstar sees in India can only be challenged by the Japanese. They even have a name for Rajinikanth - Odori Maharaja or the dancing maharaja. Even former Prime Minister Manmohan Singh, in an attempt to strike a chord, invoked the Odori Maharaja during his 2006 address to a joint session of the Japanese parliament, the Diet. Unlike what the Japanese are known for, the parliamentarians broke into applause at the mention of Odori Maharaja.

There are Rajinikanth fan clubs and associations in Tokyo, Osaka and Kobe that hold meetings and get-togethers frequently. Muthu did not only introduce Rajinikanth to the Japanese, it also introduced the Indian way of life to the citizens. Fans opened yoga studios, Indian restaurants that offered dishes like rasam, vada and sambhar, Indian movie-style dancing classes and started mehendi services. In fact, in his address Manmohan Singh said that now the number of Indian restaurants has significantly increased in Japan. Some fans have even started frequenting Chennai as show of their affection to the star, while some learned Tamil to feel closer to the star. be457b7860