From being looked down upon and referred to as “Pettikkadawood,” a pejorative term used to imply that the industry is as small as a pettikkada (a tiny roadside shop that sells inexpensive items) and incapable of dreaming big or flying high, to becoming one of the most successful film industries in the country this year, Malayalam cinema has come a long way. With a string of blockbusters that have captivated audiences nationwide, the industry is now being hailed for its films that blend artistic and commercial aspects seamlessly. While a good number of moviegoers regard Malayalam cinema as the best in the country at the moment, The Indian Express decided to delve deeper into the topic since there would definitely be much more beyond the glossy surface. During a panel discussion with Kaathal – The Core director Jeo Baby, Aattam helmer Anand Ekarshi, B 32 Muthal 44 Vare director Shruthi Sharanyam, and film critic Neelima Menon, we dissected Malayalam cinema and its success, attempting to understand what makes it so unique and also its limitations.
Expressing delight over Malayalam films getting a wider reach now, Jeo credited the audience and the many progressive social movements that happened over the years for shaping today’s cinema. “Until a few years ago, we were creating issues through our movies. Now, a kind of reverse conditioning is happening. In fact, this is happening in all industries across the country, including the mainstream ones. They are aware that certain things are politically incorrect and that the audience will raise questions about them, even if it’s a superstar-led movie. Such changes are not solely because of the makers or artistes; the audience is also a part of it,” he said.
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The power of rootedness
“What makes Malayalam cinema unique is that we make small, realistic films that are very rooted in our culture. And I don’t think we should aim for big-scale films just because they are working in other industries. Even Manjummel Boys, for that matter, resonated with a large audience because of its rootedness. In my opinion, we shouldn’t get overwhelmed because other industries are aiming for bigger-scale films. Instead, we should stick to what we are best at, which includes making good content and not underestimating the audience,” Neelima noted.
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“I’m super proud of the current trend that we’ve been seeing. A few months back (prior to the current success streak), I had a meeting with one of the senior heads of a famous OTT platform. He said there was no audience for Malayalam films and was speaking based on analytics and statistics. He further said they were hesitant to make originals in Malayalam. But now, we have given the right answer,” Shruthi mentioned. She too emphasised the need to stick to the roots and avoid making mindless content, as “people are more keen on watching content-driven films that have been made in regional languages.”
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The tedious task of finding distributors, OTT platforms
Mentioning that finding a producer is no longer a difficult task, Anand said that there is a strong demand for good and engaging stories. He stated that, although one might have to make a few compromises in terms of budget or casting, there are ways to manoeuvre around the challenges. “For a smaller film, the biggest challenge is to find a distributor. You will get a producer and actors and eventually complete your film. However, getting it into theatres is the toughest part. We experienced this with Aattam. While it was doing well, a big film arrived and Aattam’s screenings dropped from seven shows a day to one,” he pointed out.
While finding distributors has always been a big headache for small or independent Malayalam films, this situation changed following the Covid-19 outbreak and subsequent lockdowns when the OTT boom occurred, and major platforms started flocking to the industry, buying movies and making deals. While this initially benefited streaming platforms, it no longer does, and as a result, they have significantly reduced the number of projects they purchase, plunging small films back into the abyss. “I had recently approached a couple of OTT platforms to pitch a film as original content. However, they were reluctant and demanded a relevant theatrical run. For filmmakers like us, who don’t focus on mass entertainers, our films find more audience on OTT platforms than in theatres,” Shruthi said.
Echoing this sentiment, Anand added, “It is going to be very difficult since everybody is looking for business. Every inch of cinema involves money. At the end of the day, it’s all about analytics: the number of people watching, the money, the subscriptions, advertisem*nts, viewing time, etc. There are many Malayalam movies that have had a theatrical release but haven’t made it to OTT platforms. Now, as per my information, platforms are looking for films which have had a great run in theatres, and only then are they looking to buy them.” “The case is the same for all industries, including Hindi, and not just regional ones,” Shruthi added.
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‘Malayalam cinema is not special or exceptionally great’
When asked if there is any merit to the public perception that Malayalam cinema is more self-critical, self-aware, and “woke” than its counterparts, Anand said, “I personally don’t buy into the notion that Malayalam cinema is special or exceptionally great. There are certain factors, yes, like sensible actors who are on the lookout for good scripts. The best example here is Mammootty doing Kaathal. It’s also the audience, who made Kaathal a big hit.”
In contrast, Shruthi stated that she believes Kerala has an ecosystem. “Our 100% literacy rate, position in the human development index (HDI), and the social movements that happened over the years have shaped our sensibilities. This cultural fabric and deep-rooted ecosystem drive us to watch and make content-driven films.”
“We should also get rid of this misconception that we (Malayalam cinema) are producing only great films. Till April, we had about 60 releases. Since only the good ones are being spoken about, people think that’s the case. We are just like every other industry and have our fair share of bad films,” Neelima added.
The strengths and limitations
When asked about the greatest strength of Malayalam cinema, Neelima pointed out that it’s a combination of many factors. “We are slightly braver when it comes to picking content because we know there will be an audience.”
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While mentioning that he believes “there is nothing outrageously special about Malayalam cinema,” Anand said, “I am not influenced by the situation and films of Kerala alone. In the modern world, every filmmaker is watching cinema and other art forms from across the globe. Many nations produce amazing films under very challenging conditions. At the end of the day, a movie is made by a filmmaker. It is about how that individual has been shaped, and I don’t think it is specific to a region. Yes, the region will add a certain flavour, but it depends on that particular person’s journey.” He also mentioned that one common factor among film industries like Malayalam, Iranian, Turkish, Marathi, and Assamese is budget constraints. “So, you have to sharpen your other skills, like writing. You have to be smart enough to shoot very fast. That actually helps us in one way, but it’s common among all smaller industries.”
“The emphasis on being woke is also a little unhealthy. We need to produce different types of content. For example, last year we had a commercial mainstream film like RDX, and this year, we had Aattam and Bramayugam. We have an assortment of all genres. If it is not organic, wokeness too will fall flat,” Neelima pointed out. “It’s also too early to comment on this trend because it can change at any point. The sensibilities of the audience and what they want can change,” Shruthi added.
Discussing the industry’s limitations, Anand quickly highlighted that societal pretension is a major obstacle. “We still cannot handle many subjects and need to present them indirectly. At the same time, the pressure of doing ‘the right thing’ is overwhelming. I have never understood how art is about right and wrong. With art, you can only express yourself. If you have to pretend or conform to an expected outcome, then you are doing a disservice to yourself and the audience.” Pointing out that superstars are still essential for a movie to earn significant revenue, he added, “If a movie without a superstar earns Rs 50 crore or so, then I would say some serious change has happened. I absolutely loved films like Premalu and Manjummel Boys, which focused on entertaining the audience. It is definitely not easy to make such movies. But at the same time, Don Palathara’s Family also hit the screens around the same time and did not survive in theatres for three days, despite being one of the finest movies in recent times. When a movie like Family makes at least Rs 5-6 crore nett, then I would say everything has aligned and we are doing the right thing.”
“A large chunk of our audience are TV serial and reel-watching viewers. To reach them, you will have to simplify the content and strike the right formula,” Shruthi noted.
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When asked about the popular opinion among netizens that new Malayalam films no longer have repeat watch value or rewatchability, Neelima said it was too early to make that assumption. “I think we need to wait for 10-15 years to determine if these movies have that recall value.” Anand, on the other hand, attributed this to the abundance of content. “Now, would you prefer to go back to old content or watch something new? You might have a sweet spot for some movies or shows that you revisit, but not all. That doesn’t necessarily mean the quality of new films is any lesser.” Shruthi, meanwhile, mentioned that it also has to do with the dip in people’s attention spans.
