Tamil Cinema 2023: Jailer to Leo, biggies are the highlight of a decent year

In 2022, stars like PS 1, Vikram, and Vendhu Thanindhathu Kaadu scored dual victories as they emerged as blockbusters and critical favorites. However, this time, the stars fell short of expectations. Karthi, riding high on the successes of Sardar, Komban, and PS 1, faced a setback with Japan, emerging as one of the year’s biggest disappointments. Mani Ratnam’s PS 2 also failed to captivate audiences like the first part. Despite a promising start with Vijay’s Varisu and Ajith’s Thunivu, the hits became sporadic, as noted by Rakesh Gowthaman. “Leo, Jailer, and Varisu were exceptions; mid-level and small-budget films struggled. After Thunivu and Varisu, the next hit, Viduthalai: Part 1, arrived in March. The lull continued, with movies like Dada having modest success. Ponniyin Selvan 2, expected to be a blockbuster, did not match the hype, resulting in a lackluster summer. Hits like Maamannan, Maaveeran, Jailer, and Leo offered some relief, but overall, 2023 proved middling. Even the much-anticipated Maaveeran fell short of Sivakarthikeyan’s best. Dhanush, Karthi, and Suriya didn’t make a significant impact.”

Contrary to this perspective, Dhananjeyan contends that 2023 was far from a dismal year for Tamil cinema, citing the record number of film releases – a staggering 256. “Despite a potentially lower ratio of hits to releases due to the sheer volume, the industry’s turnover has seen a remarkable increase. This indicates a thriving business, doesn’t it? Out of the 190 small-budget films released (made with less than Rs 5 crore), only a handful became hits, affecting the success ratio. However, the actual number of hits has risen.”

A Silver Lining

Ramesh Bala, offering a more optimistic view, sees the success of Por Thozhil as a significant positive for Tamil cinema. In an era where marketing expenses often match the film budget, he points to Por Thozhil’s minimal promotion yet substantial success, earning around Rs 40 crore gross. This achievement, he suggests, gives hope to filmmakers that quality content can yield results, even without extravagant promotion. “About 90 percent of films made here are small-budget ventures. Por Thozhil was one of them, and no one knew about it till its release. It worked solely because of word-of-mouth reviews, and I think it will give hope for many such filmmakers.”

Pan-Indian Films Lose Luster

Although Rakesh and Dhananjeyan disagree on their assessments of Tamil cinema’s overall progress, they concur that Pan-Indian films have lost their appeal. Despite the sensational successes of 2022, such as KGF: Chapter 2, Kantara, Sita Ramam, RRR, and Charlie 777, the trend faltered in 2023, with Jawan being an exception. “Tamil filmmakers must overcome their reluctance to release films alongside Pan-Indian productions from other states. This year, none of the Pan-Indian films, including Adipurush, Salaar, or Dunki, found success. The optimism of 2022 has waned, and 2023 has disappointed theatre owners, albeit with exception like Jailer,” opines Rakesh.

Dhananjeyan concurs, stating, “Jawan is the sole exception, and even with Atlee, Nayanthara, and Vijay Sethupathi, it leaned more towards being a Tamil movie. This year, Salaar didn’t meet expectations, signaling a failure of Pan-Indian films in Tamil cinema.”

Challenges on the Horizon

Despite the landmark successes of films like Jailer and Leo, which resonated beyond regional borders, Rakesh dismisses the notion that these triumphs compensate for the void left by mid-level film failures. “The Tamil cinema market has expanded, but individual theater collections remain static. While there are more centers and avenues for Tamil cinema, the revenue for producers remains largely unchanged. The ticket price hike from Rs 120 to Rs 190 hasn’t translated to a substantial increase in earnings.”

Dhananjeyan, wearing his producer and distributor hat, identifies two imminent challenges for Tamil cinema. “OTT platforms are acquiring fewer films, presenting a challenge for the industry. Out of the 256 films released this year, only 140 found a place on digital platforms. Additionally, theatres face dwindling audience interest in smaller films, as viewers increasingly prefer watching them on OTT platforms. While a film like Por Thozhil stands out, it cannot single-handedly transform the industry. The audience must support smaller films, and OTTs need to expand their acquisition of such content.”