Vijay's rise and rise in cinema, his real dream to create future

Chennai: "I'm gonna make him an offer he can't refuse." When Marlon Brando, as Don Vito Corleone spoke these celebrated lines in the epic movie The Godfather it was not a threat; it was the assertion of a man who has risen to a position of ultimate power; dictating the terms of reality for others.

It was such a dramatic rise in cinema, propelled by the love of millions of fans, that has served as the real platform for Chandrasekar Joseph Vijay to start a political party and aspire for the office of the Chief Minister. So, what was behind Vijay's successful career and how he built it.

Director Bharathan, who wrote dialogues for Ghilli and Madhurey and directed Vijay in Azhagiya Tamil Magan and Bairavaa, describes him as highly observant and attuned to audience sensibilities.

"He listens completely, switches off his phone, and absorbs the story with sincerity," Bharathan says. "Many artistes don't do this. He instinctively understands the pulse of the audience." From Thotta Petta in Vishnu (1995) to Whistle Podu in GOAT (2024), songs and dance sequences have been central to Vijay’s mass appeal. He treats them not as standalone numbers but as extensions of performance, carefully aligning choreography, dialogue inflection and emotional beats to create moments that connect with the audience. Bharathan says this instinctive understanding of what clicks with viewers has helped Vijay forge an unusually strong connect, one that has translated with remarkable consistency into box-office success.

In hindsight, the symbolism is hard to miss: few could have imagined that Whistle Podu, once a cinematic refrain, would later emerge as the official symbol of his political party, Tamilaga Vettri Kazhagam, for the 2026 Tamil Nadu Assembly elections.

Over the years, Vijay emerged as a reliable box-office draw, eventually earning the title "Thalapathy", meaning Commander, a sobriquet associated with Tamil Nadu Chief Minister M K Stalin. While Rasigan (1994) formally introduced him as "Ilaya Thalapathy" (Young Commander), Poove Unakkaga (1996) brought him widespread recognition. His early roles often cast him as an awkward young man, relying on humour and innuendo.

Films such as Coimbatore Mappillai (1996), Kadhalukku Mariyadhai (1997), and Once More (1997) marked his transition to a family-friendly romantic lead with comic flair. By Thulladha Manamum Thullum (1999), he displayed a depth that signalled his readiness for more demanding roles.

He went on to headline a string of romantic dramas—including Kannukkul Nilavu (2000), Priyamaanavale (2000) and Shahjahan (2001)—before steadily repositioning himself as an action-led star, mirroring a broader industry shift. Vijay's evolution continued with Kushi (2000), Friends (2001), and Thirumalai (2003), reflecting his growing versatility.

Post Ghilli (2004), he became increasingly selective, defining the commercial hero archetype with Madhurey (2004), Thirupaachi (2005), and Sivakasi (2005). Pokkiri (2007) cemented his stardom, delivering both massive box-office returns and critical acclaim.

An industry PR told PTI that nearly 80 per cent of star-driven films were produced on Minimum Guarantee (MG) terms amid fierce competition for screens. "Back then, Vijay was like MGR—producers who backed his films were guaranteed profits," he said.

Despite his towering success, Vijay has always prioritised audience response over awards. Offscreen, he is reserved; on camera, he dominates. Now, in his political avatar, he has attempted a kind of redo of his film persona in real life politics by making brilliant changes, often innovative.

After Pokkiri, when his career faced turbulence, the 2012 flick "Nanban" directed by Shankar, restored Vijay's position as one of Tamil cinema's leading stars. Facing speculation that his appeal was fading, he chose films that broke from the masala formula, revealing a more layered screen persona. Hits like Thuppakki (2012), Thalaivaa (2013), Jilla (2014), Kaththi (2014), Theri (2016), and Mersal (2017) reestablished his box-office dominance while engaging with social and political themes.

Thalaivaa clearly hinted at his political ambitions, and subsequent films consistently explored political issues. "Even Sarkar (2018), which followed Mersal, was politically charged. His speeches at audio launches became events in themselves. The bigger the film, the bigger he became as a star," the PR adds.

With Bigil (2019), his third collaboration with Atlee, Vijay further connected with audiences as both entertainer and influential figure, extending his impact beyond the silver screen. The PR observes, "When he chooses films, you can almost see his intent. He wants audiences to see him as the ideal brother, friend, and leader—a calculated evolution reflecting his growth over decades." Subsequent hits including Master (2021) solidified his status as an undisputed box-office king. Vijay's meteoric rise—sustained through films like the 2023 hit Leo—has been defined by rare consistency at the box office, a run many describe as "near-fairytale". He stepped into politics while being at such a peak, when he could command a fee exceeding Rs 100 crore per film, according to observers.

At the audio launch of his swansong film Jana Nayagan, Vijay reflected on his career. "When I first entered the industry, I thought I was building a small sand house. It was my fans who turned it into a palace," he said. Will people reward him similarly in politics too? It's a million dollar question.