In December 2013, when the Malayalam film 'Drishyam' was released in Kerala, nobody could have foreseen the tremendous impact it would have on the Indian movie industry. Not only did the film become the biggest hit in Malayalam up to that point, but it was also remade in various Indian languages, including Hindi, Kannada, Telugu, Tamil, and foreign languages such as Mandarin Chinese and Sinhalese. Furthermore, it is set to be remade in Korean, marking a significant achievement at a time when so many South-Korean films are being remade by Indian makers. It may even be the first Indian film to earn this distinction. The original instalment, featuring actor Mohanlal in the lead role, spawned a sequel, 'Drishyam 2,' which was exclusively released on an OTT platform. Nevertheless, the remake rights were in high demand because of its powerful story and compelling theme.
I cite 'Drishyam' as an example to emphasise how Malayalam cinema is transcending borders due to the sheer strength of its content. While we have seen many South Indian films achieve pan-Indian appeal through dynamic and mass-oriented elements, Malayalam cinema stands out because it consistently adheres to the fundamentals. It prioritises substantial content over dizzying budgets and this is where its true strength lies.
The digital revolution brought significant changes to the filmmaking landscape, leading to a paradigm shift in Malayalam cinema towards innovative themes, exemplified by Rajesh Pillai's 'Traffic' (2011). However, it's important to note that similar trends emerged in Malayalam cinema during the 1980s, with filmmakers like John Abraham, K. G. George, P. Padmarajan, and Bharathan ushering in a new era of cinematic storytelling. While commercial hits by directors like I. V. Sasi and Joshy dominated the box office, luminaries such as G. Aravindan, Adoor Gopalakrishnan, and T. V. Chandran pioneered parallel cinema, earning numerous accolades.
Yoodlee's search for versatile and pertinent themes led us to 'Padavettu', our debut in Malayalam cinema. This film had significant connections to the political developments within the state, and held particular relevance for the local audience. Subsequently, our second collaboration was with the Writers Union of the film fraternity in Kerala for 'Kaapa', an action-packed thriller, based on writer Indugopan's novel 'Shankhumukhi,' which itself was inspired by real-life incidents in Thiruvananthapuram, the capital city of Kerala.
This trend of versatile themes is not incidental. As I mentioned before, post the tremendous success of 'Traffic', there emerged a growing demand for subversive narrative styles in Malayalam cinema. This trend was followed by experimental endeavours such as 'Chappa Kurissu' (2011), 'Salt 'n' Pepper,' '22 FK Kottayam' (2012), 'Guppy' (2016), 'Maheshinte Prathikaram' (2016), and 'Android Kunjappan Ver 5.25' (2019), to name a few.
These films not only achieved remarkable box office success but also garnered critical acclaim. This year's biggest Malayalam hit, 'Romancham ,' features no superstars and is led by Soubin Shahir, Arjun Ashokan, and a host of new actors in significant roles. The recent success of movies like 'RDX' also underscores that in Malayalam cinema, content carries equal, if not more, weight than mere stardom. However, we cannot overlook superstar-driven movies like 'Pulimurugan' (2016), 'Lucifer' (2019), and 'Bheeshma Parvam' (2021) which also attained blockbuster success, underscoring the well-balanced blend of star power and thematic depth.
Apart from superstars like Mammootty and Mohanlal, we also now have the next-generation of actors like Prithviraj Sukumaran, Dulquer Salmaan, Fahadh Faasil, Tovino Thomas, Nivin Pauly, Asif Ali, Pranav Mohanlal and Shane Nigam. They not only have a wide following but also the potential to draw audiences to theatres.
Our third Malayalam venture, 'Kasargold,' for instance, was headlined by Asif Ali, Vinayakan, and Sunny Wayne in leading roles and had a scale typically associated with iconic stars.
The demand for an exceptional theatrical experience extends beyond Malayalam to nearly all languages. At the same time, audiences have clearly distinguished between films that will give them compelling big screen experiences and intimate stories they can enjoy in the comfort of their own homes. The rise of OTT platforms and a pan-Indian exhibition network have also greatly expanded the reach of Malayalam cinema. Examples such as 'Premam' (2015), which enjoyed over 200 days of screening in Tamil Nadu, the cult hit 'Kumbalangi Nights' (2019) and films like 'Minnal Murali' (2021), and 'Joji' (2021), which were released online, illustrate the growing acceptance of Malayalam movies.
In addition to experimental content, Malayalam cinema is also witnessing a surge in technically advanced films. This is not surprising considering the industry's legacy as the birthplace of the first 3D film in India, 'My Dear Kuttichathan' (1984). Many new projects, such as actor Mohanlal's directorial debut, 'Barroz,' shot in 3D, are poised to raise the bar of technical finesse in the industry.
What exemplifies Malayalam cinema today however is the courage to tell unique, authentic and rooted stories that have never been told before. And director Lijo Jose Pellissery’s 'Jallikettu' (2020) perfectly exemplifies this fearlessness. Produced without a star-studded cast and with a moderate budget, it boasted great technical finesse and emotional power and went on to become India's official Oscar submission. The message the industry is sending to audiences around the world? Expect the unexpected and prepare to be taken by surprise.
The article is authored by Siddharth Anand Kumar, Sr. Vice President, Films & Events - Saregama India Ltd.
