Amid back-to-back flops, cinema lovers weigh in on what Malayalam filmmakers should prioritise and which areas require more focus

Though some industry insiders argue that the current situation is not entirely new, and only a few films have historically succeeded each year, there is an increased concern due to the industry and theatres losing nearly a year because of the Covid situation. Theatre owners attribute this to early OTT releases, but the actual reasons seem more complex. A closer examination of the quality of recent Malayalam films and the reviews from both critics and audiences suggests that multiple factors contribute to their lack of success. Blindly assuming that early OTT releases are the sole cause would be counterproductive, as it ignores the root causes that need to be addressed and rectified.

Therefore, it is crucial to explore whether and where we might be making mistakes. To gain insights into the opinions of movie-going audiences regarding the quality of Malayalam films and to discover any specific aspects, creative or technical, that they believe Malayalam filmmakers should prioritise, The Indian Express conducted a survey among 114 cinephiles. And yes, viewers indeed believe certain areas require more focus.

2023: An overview

Although over 100 movies were released in the first half of 2023, the survey participants tended to mention the same titles when asked about their favourite films from that time. Among them, 40 per cent listed 2018 as one of their favourites. Other titles like Iratta, Romancham, Thankam, Nanpakal Nerathu Mayakkam, Purusha Pretham, Pachuvum Athbutha Vilakkum, Pranaya Vilasam, Madhura Manohara Moham, Madanolsavam, Kadina Kadoramee Andakadaham, Christopher, Thrishanku, Thuramukham, B 32 Muthal 44 Vare, Neelavelicham, Neymar, Sulaikha Manzil, Pookkaalam, Ntikkakkakkoru Premandaarnnu and Corona Papers were also repeatedly mentioned. However, this highlights an interesting point: from the mammoth list of releases, they consider only 21 movies as truly memorable.

Underlining the same, approximately 46 per cent of respondents expressed that the overall quality of Malayalam cinema in 2023 so far has been merely average. 2.7 per cent felt that the industry performed exceptionally well, while 22.1 per cent considered it good. On the other hand, 17.7 per cent labelled the performance as bad, and 11.5 per cent as extremely bad.

Favourites from last decade

In an effort to gauge the preferences of the respondents, The Indian Express asked them to name movies from the last decade that left a lasting impression and are still frequently watched. Among the recorded responses, titles like Traffic, Ayalum Njanum Thammil, Munnariyippu, Thattathin Marayathu, Thondimuthalum Driksakshiyum, Melvilasom, Apothecary, Porinju Mariam Jose, Anarkali, Njandukalude Nattil Oridavela, Amen, Maheshinte Prathikaaram, Kumbalangi Nights, Ustad Hotel, Guppy, Sudani From Nigeria, Pranchiyettan & the Saint, Bangalore Days, Unda, Mumbai Police, Ayyappanum Koshiyum, Drishyam, Joseph, Premam, Aadu, Action Hero Biju, Varathan, Mayaanadhi, Ee Ma Yau, Charlie, Left Right Left, Kammatipaadam, Ohm Shanthi Oshaana, Kammara Sambhavam, Two Countries, Angamaly Diaries, Kunjiramayanam, Godha, Iyobinte Pusthakam, Memories, Lucifer, Android Kunjappan Ver 5.25, My Boss, North 24 Kaatham, Annayum Rasoolum, Vellimoonga, Njan Steve Lopez, Aravindante Athidhikal, Double Barrel, and Njan Prakashan were mentioned more than 10 times each. 

This highlights that most of the films that impressed our survey respondents in the last decade were story-driven with tightly-woven scripts. It is noteworthy that only very few individuals mentioned frequently rewatching mass action entertainers, and not a single such film had more than two or three fans. The films listed mainly comprised dramas, spanning various sub-genres, with a few thrillers also capturing their hearts. Additionally, the responses indicated that the surveyees are avid cinephiles who assess movies on a deeper level and closely follow developments in the industry.

Therefore, The Indian Express deemed it appropriate to pose the critical question of whether participants believe there is a particular aspect that Malayalam films should focus on more. (Un)Surprisingly, more than 90 per cent of them highlighted areas that require enhancements.

While a few emphasised that the industry should prioritise technical aspects like cinematography, editing, visual effects, and background score and also explore diverse genres instead of adhering to the same ones, a few respondents pointed out that the quality of performances from actors has significantly declined over the years. A considerable number of people commented on the industry’s lacklustre promotions and marketing as well.

‘Prioritise stories and scripts!’

Astonishingly, a considerable number of respondents expressed the view that Malayalam cinema should prioritise stories and scripts, emphasising a decline in their quality. 

One survey participant noted a decline in the number of plot-driven movies, with character development often overlooked and a scarcity of humour elements.  Subsequently, another respondent mentioned that foolproof scripting is often forgotten these days.

While Malayalam cinema receives praise from other industries and non-Malayali audiences for its content, Malayali viewers believe that our films are not up to the expected standard. One person expressed, “Technically, I think our movies are good. However, they do not meet the required level when it comes to scripts.”

“We need better writers. Many films have intriguing premises, but the scripts often fizzle out in mediocrity. On the other hand, aesthetically, Malayalam cinema stands as one of the strongest in the realm,” a respondent stated. While one person expressed, “Good and rooted stories have vanished from our films,” another remarked, “We should steer away from these half-baked light-hearted plots.”

Among the respondents, 46.4 per cent considered the quality of stories depicted in contemporary Malayalam films to be good, while only 4.5 per cent rated it as extremely good. Additionally, 34.8 per cent deemed it average, 10.7 per cent rated it as bad, and the remaining 3.6 per cent found it to be very bad.

Iratta wins hearts

As most respondents expressed the need for better stories and scripts, The Indian Express asked if any recent Malayalam film impressed them with its story. A good percentage of surveyees mentioned the film Iratta as an answer, while other responses included titles such as Jana Gana Mana, Drishyam, Kumbalangi Nights, Rorschach, Nayattu, Joji, Jaya Jaya Jaya Jaya Hey, Aavasavyuham, Churuli, Thinkalazhcha Nishchayam, Thallumaala, Mukundan Unni Associates, The Great Indian Kitchen, Dear Friend, Nanpakal Nerathu Mayakkam, Bhoothakaalam, Pranaya Vilasam, Thondimuthalum Driksakshiyum, Sudani from Nigeria, Maheshinte Prathikaaram, Saudi Vellakka or Thankam.

Explaining their concern about the industry’s need to work on stories, one stated, “Movies lack strong plot-driven narratives and often focus on isolated situations without establishing a strong connection with the characters. As a result, character depth is lacking, making it difficult for audiences to form meaningful attachments with the characters portrayed on screen.” Another participant observed, “Most stories lack soul and originality. It’s as if they write the stories for these films in 15 minutes.”

Some pointed to the absence of good production companies and passionate producers as a reason why we struggle to create compelling stories and, hence, continue to stick to templates. 

Nevertheless, a few strongly expressed their belief that Malayalam films surpass their counterparts in terms of content. “I am amazed by how Malayalam movies fearlessly address topics that people are reluctant to openly discuss in public. It’s a significant revolution that these films have tackled various issues like caste discrimination, marital rape, male dominance, body shaming, sexual poverty, false morality, homosexuality, and more,” one person stated.

Since the inception of Malayalam cinema, it has shared an inseparable connection with literature. In fact, the second-ever film in Malayalam cinema’s history, PV Rao’s Marthanda Varma (1933), and the first talkie, S Nottani’s Balan (1938), were both based on literary works. While adaptations of exceptional literary works were common in the Malayalam film industry until a certain point, this gradually declined in the 90s and almost disappeared in the 2000s.

As some of the most celebrated Malayalam films, such as Bhargavi Nilayam, Chemmeen, Nirmalyam, Namukku Parkkan Munthirithoppukal, Mathilukal and Vidheyan, were adaptations of literary works, The Indian Express enquired if the diminishing influence of literature has affected our films. The survey responses were quite varied.

“Literature provided rich and complex narratives, well-developed characters, and thought-provoking themes, which were reflected in the movies until two decades ago. This connection has been lost now. Filmmakers prioritise spectacle and action over depth. The lack of profundity in contemporary literature is also a cause. Contemporary literature does not always emphasise the same level of depth and complexity as seen in the works of MT Vasudevan Nair, P Keshavadev or Thakazhi. But change is an essential aspect of any art, including cinema. Filmmakers should create films that resonate with current audiences,” one person opined.

Emphasising the need to reach an agreement on what qualifies as literature and what does not, and mentioning that in this era, it is impossible to restrict it to the traditional definition, one respondent stated, “Literature, as we know it, and its diminishing influence does affect cinema in many ways. There’s a reason people love adaptations. People would still watch a new adaptation of classic books like Mahabharat if given the chance. They are called literature because they do not fade away in importance, I guess. The true power of cinema lies in its ability to translate a written work onto the screen while preserving emotions. I recall reading Hamlet and then watching Haider, and I was in total awe of how the story was adapted.”

“If I were to compare the current state of Malayalam cinema to the works of masters like Padmarajan, MT Vasudevan Nair, etc., I would undoubtedly say that there is a stark difference. Padmarajan, being a writer himself, reflected that in how he chose to tell his film’s stories and stage them. Everything was detailed and beautiful, and all the elements fit together seamlessly. That’s why good writing is the need of the hour in Malayalam cinema,” another person noted.

Nevertheless, some surveyees pointed out that there is no direct correlation between these factors. “We already have good stories. We need scriptwriters who can write for large-scale movies and directors who can do justice to such projects, enabling us to compete with other industries,” one individual stated.

Offering his perspective on the matter, popular scriptwriter Ashiq Aimar, known for the movie Madhuram and the web series Kerala Crime Files, expressed that while writers should stay updated, the belief that contemporary films are not upto the mark in terms of narratives may not necessarily be entirely true.

“As a 90s kid, I personally feel that it’s been a long time since we had iconic characters and movies. Even now, we prefer revisiting films from the 80s and 90s instead of new ones. However, we need to consider the age factor. The films I consider iconic may differ from those my parents name. They mostly regard films featuring Sathyan master and Prem Nazir as iconic. Even if we might’ve watched quite a few, we usually don’t revisit films from that period often. As a writer, the films I consider reference materials are from the 80s, like the works by KG George or Padmarajan,” he told The Indian Express.

“Today’s kids have different tastes in movies, and their favourite films are likely to be vastly different from ours. Growing up, I watched a lot of movies from the 80s, 90s, and 2000s, which might make me perceive contemporary works as repetitive templates. However, for the new generation, contemporary films might feel fresh. They may eventually come to feel the same as we do after a few years. Nevertheless, I believe that underlying emotions in films haven’t changed at all,” he added.

Short filmmaker and writer Joyal Koovalloor pointed out that the drive to generate fresh and innovative content hit a roadblock after the surge Malayalam cinema experienced during the Covid period. “After that, the industry shifted its focus towards OTT-oriented films, exemplified by Joji, Kuruthi, Irul, and others. Upon close analysis, it becomes evident that these films were made with small budgets, shot in limited locations, and featured only a handful of actors or characters.” 

“Once this approach found success, many writers began following the same pattern, leading to a plethora of unidimensional and monotonous films. Production houses found this cost-effective, resulting in numerous movies adopting similar templates. Unfortunately, the industry seems to lack captivating stories and scripts, even in big-budget films. Literature is not to blame here. Over the last two to three years, we have regrettably witnessed a decline in our screenplay quality,” he said.

With the anticipation that Malayalam cinema addresses these concerns and recognises the audience’s longing for its blossoming, let us eagerly await the upcoming releases.