Sa Re Ga Ma Pa Seniors Season 5: Vijaya Prabhakaran to grace ‘Captain Vijayakanth' special episode; Watch promo
The special episode, titled 'Captain Vijayakanth,' will celebrate his evergreen songs that have left an indelible mark on Tamil cinema.
The promo, which has already moved fans to tears, showcases contestants performing soulful renditions of Vijayakanth's memorable tracks, evoking nostalgia and admiration for the beloved star.
In a moment that will surely touch the hearts of viewers, Vijaya Prabhakaran, son of the legendary actor, will appear as the special guest for this emotional episode.
His presence is expected to make the tribute even more meaningful, as the show honours not just the actor, but the man who inspired millions with his performances and political journey.
Watch the promo:
The panel of judges, Srinivas, Vijay Prakash, Saindhavi, Shweta Mohan, and S. P. Charan will guide the contestants through this poignant musical journey, sharing their own reflections on Vijayakanth's legacy. Adding her signature charm, Archana Chandhoke will host the episode, ensuring that the emotion and energy reach every viewer.
Sa Re Ga Ma Pa Seniors Season 5 has been lauded this year for its heartfelt themes, and the upcoming tribute to Captain Vijayakanth promises to be one of the most memorable highlights of the season.
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The Hindu
2 hours ago
- The Hindu
Rajinikanth and the cost of stardom
Rajinikanth is worthy of every bit of praise. Surviving, let alone succeeding, 50 years in the Tamil film industry deserves a celebration. But for what specifically? For acting in around 170 films in different languages, his screen charisma, his politics, his impact on the lives of his fans? Fifty years seems just like yesterday when Rajini's first film, Apoorva Ragangal (1975), launched him into history — although he was not the hero. He remade himself to suit the needs of others. His name was changed, he learnt a new language, and put on a new persona that was dictated by filmmaker K. Balachander's vision of what he saw in Rajini. Five decades ago, he started the journey of becoming a cult figure by legitimising rebellion, making it possible to talk about desires that were taboos, speaking for those who were invisible and on the margins of society, and began the first steps towards fashioning an image of himself. His latest film, Coolie, which released last week, commemorates these years. Much has changed, but much remains unchanged. What has not changed is that like back then, he is still trying to put on a new persona, trying to be what he is not. It is said that the greatest fear of superstars is ageing. While we celebrate their longevity, they seem to live in mortal dread of it. The real life picture of a bald-headed Rajini makes him look like our beloved uncle. In Coolie, he has a head full of lush hair and fights like a young man, although his eyes betray him. The same powerful eyes that Balachander commented on 50 years ago now lie hidden in deep sadness, perhaps reflecting the pain that he still has to do films like this in the name of superstardom. Perfecting the grey figure Rajini was never defined by his body. He was dark and slight, more like a Bengaluru bus conductor — which he was before he became an actor. He was a Marathi speaker too, who spoke Tamil with a different lilt. Rajini's strength and power came from what he spoke and stood for. He personified a simple but powerful truth: that those who are poor and disadvantaged have a greater moral sensibility than those who possess wealth and power. The vegetable sellers on the pavement, the daily wage earners, the coolies as well as the autorickshaw drivers exhibit far greater moral qualities than do feudal landlords, rich entrepreneurs or powerful leaders. He was loved because he embodied that grey figure between socially acceptable behaviour and individually regressive one. He could be charming even when he was being politically incorrect. His audience loved him because they knew that he was a moral being at his core. The coolie theme that was so crassly abused in his new film was one that invoked deep feelings in the working class whose voice he represented in films such as Mullum Malarum (1978, a villager in conflict with an urban engineer), Baasha (1995, an auto driver), Muthu (1995, a servant under a feudal landlord), and more recently, in Pa. Ranjith's hit film Kaala (2018) where he fights for slum dwellers. The younger Rajini acted like an older man, wiser, responsible, more socially attuned, and one who produced hope. Moral ambiguities Fifty years on, Rajini's morality has aged. He is not able to hide this even if he succeeds in camouflaging the ageing of his body. When he played a gangster in Thalapathi (1991), there was a sense of moral code in the world of criminals. But in Coolie, Rajini's moral sense disappears when he joins a young woman in a criminal act to justify making money to pay the fees for the medical education of the woman's sisters. He is not the Rajini that we saw in Bhairavi (1978) or movies like Aval Appadithan (1978), which catalysed a larger discussion on women's rights and roles in a society. Rajini was as famous for his dialogues as for his cigarette tricks because those dialogues did not age. They did not need an old man, trying to look young with a mop of hair, to deliver them. Rajini converted these dialogues in movies such as Arunachalam (1997), Baasha and Padayappa (1999), into social slogans. As long as Rajini speaks for the rights of the oppressed and the marginalised, his physical age does not matter. Being old is exhibited not in the way we walk or fight, but in the way we think, in the energy we have to fight for the benefit of others, and in the hope that we bring. Rajini, while still physically explosive on the screen, has aged mentally and morally, at least in his last few films. He seems to have lost the qualities that made him perennially young and relevant. We can't blame him. Perhaps he has become indifferent and tired. Just like us. The Bengaluru-based writer and philosopher's new novel is titled Water Days.
Time of India
2 hours ago
- Time of India
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Hans India
2 hours ago
- Hans India
Will Tamil public bless this hero with‘ Vijayi Bhava' in 2026?
Tamil Nadu politics refuses to severe its umbilical cord with the film industry. 25 years into the new millennium, it looks like once again attempts are made to rewind the time zone to 1977. That was when a top cine star – M G Ramachandran - upstaged an established, cadre-based regional party- Dravida Munnetra Kazhagam (DMK)with his break-away faction – Anna Dravida Munnetra Kazhagam (ADMK) – in record time after its birth and captured power to rule the Dravidian state unchallenged for 13 years. At the time of writing, Joseph Vijay, known as 'Thalapathy' among his fans has just held his second mega political meeting in Madurai, the city which has seen epoch-making changes happening in state politics. After his seniors, Rajinikanth, who quit the heat and dust of 'rajniti' quoting ill health and Kamal Haasan ending up seeking support of DMK (for a Rajya Sabha seat) whom he set out to vanquish, all eyes are now on Vijay, a massive, successful matinee idol who has carved his niche in Tamil cinema in a span of three decades and more. An appraisal of Vijay's role in taking up a political career seriously will have to take into account his first announcement made in February 2024. The same year, in Vikravandi, he held his maiden political meeting in October. Though it was widely reported upon and speculations gained ground about what his ideological path would be, none gave it much thought as elections were far away then. Now, it is no more the case. Summer 2026 is just eight months away and the political scenario is hazy, given the complex alliance sewed together between BJP and AIADMK on the one end and the posturing by smaller parties before DMK on the other. By announcing that the forthcoming polls would be a direct clash between his Tamilaga Vettri Kazhagam (TVK) and the ruling DMK, Vijay seems to have made his fans clear about what they should be doing to promote their party aggressively. Interestingly, the decorations at the venue played up MGR and the actor himself seems to have reserved special attention to shower encomiums on him and his rule in Tamil Nadu. This can only mean for the enduring cinema appeal among the Tamil population, a new star is attempting to woo the fans or supporters of AIADMK, at least those of whom who are not happy with their outfit joining hands with the saffron party. From the manner in which his 'Maanadu' was received with tremendous public support, Vijay can take heart that he can carry on his political battle with zeal and commitment. Observers of the state political arena would not have missed the strong response to another popular cine hero, Vijaykanth, who started 20 years ago from the same city, with an equally thunderous welcome, as he set about announcing his party to be an alternative to the existing political duopoly. After a few political flip-flops and opportunistic alliances with rival parties, his party Desiya Murpokku Dravida Kazhagam – DMDK- is virtually extinct after the hero himself passed away, nearly two years ago. Like Vijay, Vijaykanth too was in his early '50s then, ready to sacrifice his cine career for a long innings in politics. The outcome is too well known to be repeated. Tamil Nadu will await for concrete steps from the new party to make them convinced that TVK may after all try and alleviate their miseries, an enduring legacy for decades.
