Mohanlal, the giant of Malayalam cinema, recently showed the world what true humility looks like by apologizing for the anti-Hindu undertones in his film L2: Empuraan. Meanwhile, Rajinikanth, Tamil cinema’s so-called “Superstar,” remains a shameless enabler of anti-Hindu Dravidianist propaganda, refusing to utter a word of regret for his role in the vile Kaala — a film that spat on Hindu values and peddled propaganda against the BJP — and doubling down by aligning himself with directors who peddle the same divisive garbage.
Mohanlal’s Humility
L2: Empuraan, released on March 27, 2025, was meant to be a triumphant sequel to Lucifer, elevating Mohanlal’s legacy and Malayalam cinema’s global stature. Instead, it sparked outrage among Hindus for its depiction of communal violence—sequences that echoed the 2002 Gujarat riots but painted Hindus as merciless villains while conveniently glossing over the Godhra train burning that ignited the conflict. The film was nothing but a brazen anti-Hindu, anti-BJP, and anti-Modi propaganda thanks to its Communist Goebbelian director Prithviraj Sukumaran and writer Murali Gopy of caricaturing Hindu karsevaks as violent thugs and mocking sacred iconography with burning crosses and collapsing symbols.
A disturbing scene shows a young Muslim boy calling for his father during an ambush, only to be brutally beaten to death by a Hindu man. This is followed by a group of Muslims seeking refuge in a Hindu household, where they are attacked once again culminating in a horrifying moment where a Hindu man rapes a pregnant Muslim woman.
The film promoted hatred against politically vocal Hindus and portrayed them as a threat to society, something that the Kerala’s pseudo-secular leftist parties do. The fictional Akhanda Shakti Morcha (ASM), a Hindutva party, is a thinly veiled BJP proxy. It’s the BJP and RSS in all but name, cast as barbaric vandals tearing apart Kerala’s “secular” soul. The film is all about painting Hindu nationalism as a modern-day plague.
Yet, Mohanlal didn’t dodge or deflect. On March 30, 2025, he issued a public apology, acknowledging the distress caused to his fans and vowing to excise the offending scenes.
Mohanlal took to Facebook to reassure his fans that certain themes would be removed from the film. In his message, he also expressed regret for any distress caused.
Writing in Malayalam, he acknowledged that some political and social elements in Empuraan, the sequel to Lucifer, had led to unrest. He stated, “I have come to understand that certain political and social themes in the film have deeply upset many of my dear ones. As an artist, it is my responsibility to ensure that none of my films promote hatred toward any political movement, ideology, or group.”
He further emphasized that the responsibility was shared by everyone involved in the film. “The Empuraan team and I sincerely apologize for the distress caused. Recognizing that this responsibility rests with all of us, we have collectively decided to remove such themes from the film,” he added.
Reflecting on his career, he concluded, “For the past four decades, I have been one of you in my cinematic journey. Your love and trust are my greatest strengths. I believe there is no Mohanlal beyond that… With love, Mohanlal. #L2E #Empuraan.”
The massive Hindu outrage has led to the film taking a serious hit at the box-office prompting the the filmmakers to voluntarily make 17 cuts to the film. Mohanlal’s legacy, though briefly tarnished, he had the humility to accept the mistake and express regret for being part of a propaganda film.
Rajinikanth’s Spineless Silence
Contrast this with Rajinikanth, a man who cloaks himself in spirituality but lacks the spine to confront the venom he’s helped unleash through his films.
His 2018 film Kaala, directed by the rabidly anti-Hindu Pa. Ranjith, was a masterclass in Dravidianist propaganda. The film cast Rajini as a Dharavi slum leader—a dark-clad “Ravana” figure—pitted against Nana Patekar’s white-clad, Ram-worshipping villain, a thinly veiled stand-in for the BJP. It flipped the Ramayana on its head, glorifying Ravana as a Dravidian hero while sneering at Rama as a symbol of “oppressive Hindu hegemony.” Hindu rituals were mocked, tilak-sporting villains strutted around with Ram idols, and Rajini’s character even threatened, “If stealing my land is your God’s Dharma, then I won’t spare your God either.”
Did Rajinikanth apologize? Did he distance himself from this grotesque distortion of Hindu faith? Not a chance. He stayed silent, letting the film’s bile fester unchallenged. This wasn’t a one-off lapse either. The Commune has chronicled how Rajini has repeatedly chosen scripts that demonize Hindus—think Petta, with its digs at Bajrang Dal, or Vettaiyan, another Dravidianist flop that smeared Hindus, lionized minorities, peddled DMK’s propaganda against NEET and glorified British colonialist Thomas Babington Macaulay.
In Lal Salaam, Rajinikanth plays Moideen Bhai, the good Muslim while another villain (Adithya Menon) is portrayed with a nice red tilak. The Hindu villains are shown as taking the guise of Muslims wearing skullcaps and are shown as instigators of riots. The narrative takes a distressing turn when the Hindu antagonist inflicts permanent harm on Moideen’s son. He even justified his daughter’s derogatory usage of the word Sanghi. Each time, he hides behind the excuse of being a “director’s actor,” as if his superstar status doesn’t give him the clout to reject such trash. For a man who claims devotion to Sanatana Dharma, his reel and real life reeks of venom against politically assertive Hindus and Prime Minister Narendra Modi.
The Dravidianist Puppet Strings
Rajinikanth’s complicity isn’t ignorance—it’s cowardice. The Dravidian ideology, with its roots in EVR’s separatist fantasies, has long sought to vilify Hindu culture, and Tamil cinema has been its megaphone. Directors like Pa. Ranjith and TJ Gnanavel—Rajini’s collaborator on Vettaiyan—wear their anti-Hindu bias like a badge of honor. The Commune has exposed how Kaala wasn’t just a film but a propaganda tool, aligning with the Dravidian narrative that paints Rama as an “upper-caste” tyrant and Ravana as a misunderstood icon. The so-called ‘spiritual’ Rajini, the one of the top film stars in India could have said no. Instead, he lent his iconic persona to amplify this poison, proving he’s less a superstar and more a puppet dancing to the tune of ideologues who despise the very faith he claims to cherish.
Mohanlal, by contrast, operates in a different league. When Empuraan stumbled into controversy, he didn’t let Prithviraj’s agenda define him. He took responsibility, faced the backlash, and acted decisively. Rajini, however, seems content to let Ranjith and his ilk drag his legacy through the mud, film after film, with no apology in sight.
A Legacy of Shame Vs. Redemption
Mohanlal’s apology wasn’t weakness—it was strength, a bridge to his fans that reaffirmed his bond with them. The Commune noted the film’s initial box-office success—crossing ₹100 crore globally in days—yet Mohanlal prioritized harmony over profit, ensuring Empuraan didn’t become a permanent stain. Rajinikanth, meanwhile, clings to his silence, his halo dimmed by every anti-Hindu jab he’s endorsed. His fans may still cheer, but for many, the “Thalaivar” they adored is now a hollow shell, a tool for Dravidian propagandists who laugh as they dismantle Hindu pride.
Mohanlal proved a star can rise above controversy with dignity. Rajinikanth, shackled by his own spinelessness, remains a cautionary tale—a giant reduced to a pawn, too timid to say “sorry” and too compromised to care.
When life makes you a superstar, be like Mohanlal and not Rajini.
Vallavaraayan is a political writer.
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