AUTO-MOBILE-ART–Sandhya Annaiah
Film is perhaps the single strongest agency for the creation of a national mythology of heroism, consumerism, leisure, and sociality’ (Appadurai & Breckenridge)
Shankarnag, the iconic actor, is a popular pick of the Autorickshaw
drivers after his notable performance as an Autorickshaw
driver in the movie ‘Auto Raja’ released in the early
80’s. This period also coincided with the time when Bangalore
as a city was going through a phase of transformation and was
slowly moving towards an economic emergence. This was also
the phase when the peddled cycle-rickshaws and Tonga’s in the
city were being replaced by auto-rickshaws which also became
symbol of the city’s growing infrastructure and the need for
faster modes of commuting across. The emerging profession of
the city was captured in the film which enhanced the dignity of
Film is perhaps the single strongest agency for the creation
of a national mythology of heroism, consumerism, leisure,
and sociality’ (Appadurai & Breckenridge)
labour attached to this profession. The hero who is obviously an Auto
driver in the movie is portrayed as one who is a well-educated, well
cultured lower middle class dweller who has circumstantially chosen
this profession.
The cinema begins with an action sequence where Shankarnag,
chases a crook duo, which are making their escape off on a bike after
snatching a chain from a woman on the lonely street. Shankarnag
happens to encounter them accidently on the street and begins
chasing them. The hero in this movie is set out after the anti-social
agents on his three wheeler auto rickshaw which also happens to be
his source of wage. Unlike other movies where cars and motorbikes
are considered more likely as a choice vehicle of heroic act, here a
rickshaw takes a lead. Thus this movie also attached a great deal of
adjunct heroism to the image of the rickshaw and its driver as well.
His love affair with a girl from the rich upper class, highlights the
‘class’ discrimination between the Indian upper class and the newly
forming middle class and the lower middle-class of the 80’s.

It is probably all these elements that the movie touched upon
(amongst several others highlighted in the movie) that led to the
instant popularity of Shankarnag (only his image) as a protagonist of
an entire profession and which was achieved merely through his acting
in a movie that carried this subject . His images adorned the spaces
on the rickshaws and even auto stands are named after him as though,
Rajnikanth, Auto mobile art

the hero actually endorsed and stood for the welfare of these
people. It is probably hereafter we see the emergence of a painted
auto rickshaw backs as a trend and an art form by itself, taking
its direct influence from another popular art medium and thus in
the process emerging as a kitsch language. Alongside images of
movie stars are the other images like imaginary landscapes, names
of loved ones, names of Gods, places, one liners, teasers and so on.
Painting a portrait of their favourite hero is also like making a
statement of belonging to a particular cult, a very similar situation
as that of displaying/ identifying oneself with reference to a caste
or a political party etc. The choice of the hero is also deeply
connected with the caste, religion and also influenced by the
region one hails from. For eg: Actor Ambareesh is usually choice
of a native of Mandya (Near Mysore) which also happens to be the
native of this actor that hints at the regionalism. At the same time
could also be a choice of a person who belongs to the Vokkaliga
community. Choice of actors like Dr. Rajkumar is more of a
universal choice and is generally symbolic of Kannada language
on the whole. The image of Rajkumar has at several times been
symbolic of being a protective shield to safe guard, especially in
times of riot.