A flick of the scarf or a gravity-defying stunt or an exaggerated action tropes where he deflects gun bullets barehanded, actor Rajinikanth has long known how to turn the smallest gesture into a moment that sends theatres into a frenzy. In Jailer 2, action director Chethan D’Souza works with this grammar of stardom, where a movement need not be elaborate to leave a lasting impression. The challenge is to understand what makes the Superstar’s gestures work and translate that into action that serves the film. “Since I’ve been a fan boy, I’ve seen what works for him and what doesn’t. So when Rajani sir makes even a hand movement, it garners noise. People expect style and swag out of what he does, and we had to focus on that,” says D’Souza.
He explains that slow motion can heighten a moment, but the scene must first earn that emphasis through its staging and continuity. “Slow motion is just an addition to elevate that moment,” he says. The distinction becomes clear in the confrontation between Rajinikanth and SJ Suryah, where a few punches communicate the brutality of the encounter without requiring the camera to show every blow. “Sound and performance allow the audience to feel the violence, leaving room for the imagination to complete what is not shown. Rajini sir even suggested a leg-on-face moment to make the scene more impactful,” he shares. D’Souza admits he was initially worried about how fans would react to it, but director Nelson and Rajinikanth encouraged him to proceed. The shot was difficult to execute, but the actor’s willingness to attempt it helped the team overcome the challenge.
D’Souza entered the industry while holding a corporate job. He began training in martial arts in 2002 and earned black belts in two disciplines. He later worked as a developer for over a decade, pursuing action filmmaking alongside his day job. A short, Wrong Move, which he made along with his brother and which combined martial arts and gymnastics, caught the attention of filmmaker Pawan Kumar. The opportunity to work on his U Turn marked an important step towards his film career.
His work has since taken him across several film industries, with credits, including Bhairathi Ranagal, Aavesham, Max, Bagheera and more. The Kannada film industry, in particular, has been an important part of his journey. He credits Puneeth Rajkumar for helping him secure a fight master card from the All Karnataka Cine Stunt Directors and Stunt Artists Association, a key step in establishing his credentials as an action director. “Appu sir helped a lot of people, and I’m one of them.” D’Souza has also collaborated with Shivarajkumar, and their association continued with Original Monster, during the shoot of which the star teased him about spending more time working outside Karnataka. D’Souza’s maiden collaboration with Meghana Raj on the film was equally special, making the set feel like ‘a home away from home’.
And is there a Bollywood dream in the pipeline? D’Souza laughs it off, sharing that the films down south are no less than any Bollywood projects. “I’m not sure if I will have the same freedom. I did a project long back, but after that I decided to stick here. But you never know... In Jailer 2, I worked with Hrithik Roshan, Mithun Chakraborty sir and I’m working with Anil Kapoor now,” he says, adding that his commitments didn’t allow him to take up any Bollywood projects.
D’Souza wants the people who execute these sequences to receive greater visibility, too. His company, CF Action Design, uses a logo featuring a figure holding a knife without a head, representing the stunt crew whose work powers action scenes even when their faces remain unseen. He believes recognition for stunt professionals is improving, though the industry still has considerable ground to cover.
His upcoming projects include Suriya’s Scene, Jr NTR’s Dragon and Prabhas’ Fauzi.Dragon, which features an assassin, calls for more realistic action, while Fauzi centres on a larger-than-life character. The director’s vision, the demands of the story and the audience’s expectations of the actor determine the choices, D’Souza says.