D S.V. Srinivas I THE MEGASTAR IN HIS LABYRINTH 'Stardom is a blessing' — Chiranjeevi Chiranjeevi, whose first film was Pranam Khareedu (K. Vasu, 1978), has acted in over 120 films, including 3 in Hindi. His films have been dubbed into Tamil and Hindi. He has been reputedly the highest paid star in Telugu, and even, briefly, the country, starring in productions that could cost between Rs 3.75-5 crore. He has repeatedly stated that he has no intentions of entering politics. Remarkably, he has been associated with few scandals and has received very little 'negative' publicity in the film press. On screen, he introduced a new form of dance with quick, vigorous, choreo-graphed steps, which stood in stark contrast to the more leisurely style of his predecessors. He did his own stunts, often in a far more spectacular fashion than the norm in early eighties' Telugu films. Fans often mention his portrayal of the wronged and angry fugitive fighting feudal oppression in Khaidi as his 'most important' early hit. Chiranjeevi has himself asserted that a 'star' is anyone who can draw audiences to theatres, not necessarily a 'hero' (Interview, Madras, 22 January 1995). This emphasis on the business prospects of stardom are common to all the major figures in the industry. The actor is aware that stardom exists, primarily, in relation to fans. Chiranjeevi realized that he was a star when he 'saw devotion in the eyes of my admirers' (he used the word abhimani: literally admirer. Tan' and abhimani are considered synonymous. Interview, Hyderabad, 19 July 1995). Stardom brings wealth, prestige and enormous satisfaction. 'Anybody can be a (good) actor if he tries hard enough. But there are very few stars... . Only one or two in a generation' (Interview, Madras). Fans ensure a sustained interest in the star. Indeed they are a bulwark against changing audience taste' (Interview, Hyderabad). Their commitment to the star is unquestionable. They stand solidly by his side when he needs them. In May 1995, when women's and students' groups had called for the banning of his film Alludu Majaaka (E.V.V. Satyanarayana, 1995), they took out a large procession in Hyderabad and threatened to immolate themselves. The film was not banned. In my interviews with him, Chiranjeevi mentioned several instances of 'hero worship' and the forms this took. His fans often cut their thumbs to apply the blood on his forehead; they have died in accidents on their way to one of his public meetings; they are undeterred by police cane-charges; they remain prepared to pick violent fights with anyone who passes a derogatory remark against him; they imitate his hairstyle, use his gestures and phrases from films, etc. Given this devotion, and in this environment, his responsibility is to provide them not only with two-and-a-half hours of entertainment (comparable to a 'six-course meal') that enables them to 'forget everything else', but also ensure that his films have the right 'message' (Interview, Madras). Unfortunately Chiranjeevi's 'message' movies — Swayamkrushi (K. Vishwanath, 1987), Rudraveena (K. Balachander, 1988), Apath Bandhavudu (K. Vishwanath, 1992) — Number 29