Express News Service
KOCHI: When the pandemic wreaked havoc in 2020 and movie theatres were shut down, filmmakers and producers were left stranded with a long line of release-awaited films. While some found refuge in over-the-top (OTT) platforms which welcomed filmmakers with open arms, the less fortunate ones with no bankable stars at the helm had no option but to wait until theatres reopened.
Of all Malayalam films released in theatres after the lockdowns, only a handful managed to do strong to decent business. These are Operation Java, Kurup, Hridayam, Bheeshma Parvam, Super Sharanya, Jan-e-Man, Jana Gana Mana, CBI 5 and Jo and Jo. The biggest surprise was Jan-e-Man, a small-budget film directed by newcomer Chidambaram and starring Basil Joseph. Despite not having any big names, it benefitted from strong word of mouth.
However, other smaller films — despite being well-made and even having popular faces — fared poorly. Industry insiders were surprised to see abysmal opening numbers for Asif Ali-starrer Kuttavum Shikshayum, Tovino Thomas-starrer Dear Friend and Kunchacko Boban-starrer Pada.
“There has been a tectonic shift in people’s film viewing habits,” notes leading marketing strategist Vivek Ramadevan, who feels that only big-scale, spectacle-driven films get top-most priority for theatrical viewing.
“When people already know that a smaller film they are not sure of would come on an OTT platform in a few weeks, why would they watch it in the theatre? In that case, their decision depends on pre-release marketing material — posters, teasers, trailers, etc. It’s important to find content that appeals to the core audience group in the 18-25 age range,” Ramadevan adds.
On promotional content, another consultant, Vipin Kumar, who worked on ‘Lucifer’, ‘Jana Gana Mana’, and ‘Jo and Jo’, opines that Malayalam filmmakers need to up their promotion game. “First, it’s essential to understand your content well and then mount an appropriate strategy. Do not trick audiences. A strategy that worked for Lucifer will not work for Jo and Jo. Also, many producers have no clue how and when to start promotions. Sometimes, I get calls on a Wednesday to begin work on a film that’s releasing on a Friday. Instant promotion doesn’t work,” he says, while suggesting that changing the ticket prices according to the film’s scale might be helpful.
Kerala has confused film culture: Operation Java filmmaker
When OTT platforms showed a strong interest in accepting content after theatres shut down, the encouragement caused a spike in the frequency of content getting made.
Some filmmakers operated under the notion that anything they make, regardless of quality and budget, would be lapped up by OTT platforms. But that any ‘OTT-friendly’ film could be easily sold was challenged after streamers recently became more stringent.
“Platforms are not willing to pay the premium that the makers demand, except for maybe two or three films which boast strong content,” observes Vivek, adding, “If the content works for all ten people who have seen it, then there is a possibility. Star value is irrelevant there.”
Director Ranjeet Kamala Sankar feels that this attitude of not accepting smaller films is greatly discouraging for independent filmmakers with genuine intentions.
“The films that we thought would benefit from an OTT release have now fallen by the wayside. These films neither get accepted by OTTs nor are they doing well in theatres. Eventually, it’s the small-scale filmmakers who suffer,” he says.
Independent filmmaker Don Palathara, who made ‘Santhoshathinte Onnam Rahasyam’, says, “Independent films already didn’t have a market, and this reality has become more pronounced after many mainstream films started doing badly. Before, people used to believe that even independent films could fetch viewers if they feature a fairly popular actor, but even those actors’ films are not doing well in theatres now. Besides, how can we expect a film’s satellite rights to sell when theatres and OTTs reject it?”
Filmmaker Tharun Murthy (‘Operation Java’) says Kerala has a “confused film culture”, and it’s unfair to blame audiences for decreasing footfall. “Why should they show any commitment when they spend their hard-earned bucks on bad movies after reading fake online reviews? Everyone — filmmakers, promoters, and producers — is answerable for this,” Murthy says.
We also need to ask why a project initially conceived, shot and edited as an OTT-friendly release opts for a theatrical release at the last minute? At what point is that decision made? When a filmmaker and a producer already know that their film would work better on OTT, why do they want to make moviegoers crazy by going in the opposite direction?” he asked
“For example, when a big film like ‘Malik’ premiered on an OTT platform, people didn’t get an idea of how the theatrical experience of it would’ve been. The same goes for ‘Minnal Murali’. Also, people didn’t know what it would’ve done for Tovino Thomas’ status as a star,” he says.
This week, exhibitors are heaving a sigh of relief as films such as ‘Kaduva’ and ‘Thor: Love and Thunder’ seem to have ended the month-long dry spell. The rest of July also holds much promise as the films of Fahadh Faasil (‘Malayankunju’), Nivin Pauly and Asif Ali (‘Mahaveeryar’), and Suresh Gopi (‘Paappan’) are being lined up for release.
Abysmal opening: Kuttavum Shikshayum, Dear Friend, Pada
Strong show: Operation Java, Kurup, Hridayam, Bheeshma Parvam, Super Sharanya, Jana Gana Mana, CBI 5 & Jo and Jo
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