An exhibitor from Kochi told South First that it's been a good year for Mollywood in terms of theatre footfalls. With many blockbuster releases, this year is seen as significant for Malayalam cinema in terms of profit.
Published Dec 28, 2024 | 9:00 AM ⚊ Updated Dec 28, 2024 | 9:00 AM
Malayalam cinema 2024. (X)
2024 has been a phenomenal year for Malayalam cinema, marked by both box office success and content-driven films. The recognition of Malayalam films across the country and even internationally has been widely celebrated.
At the same time, the release of the Hema Committee Report, which addresses the discrimination faced by women in the industry, by the state government had a significant impact on the Malayalam film industry.
News channels aired prime-time discussions on the report, and many actors and others associated with the industry made further revelations.
This year, many path-breaking films did well at the box office. While films like Manjummel Boys, Aavesham, Premalu, Aadujeevitham, Bramayugam, Turbo, Thalavan and Guruvayoor Ambala Nadayil, did well in the first half, films such as Ullozhukku, Gaganachari, Vaazha, Ajayante Randam Moshanam, Kishkinda Kaandam, Sookshmadarshini, Hello Mummy, Bougainvillea and Pani collected good money in the second half. The Christmas-year-end holiday season too saw a few hits like Rifle Club and Marco
Amidst all these, one film, Aattam stood out. The film spoke of sexual harassment and the repercussions women face for speaking out.
Directed by Anand Ekarshi and featuring Vinay Forrt, Zarin Shihab, Kalabhavan Shah John and others, the film had a good run in cinema halls post its release in January.
Posters of the film ‘Premalu’ and ‘Manjummel Boys’. (Supplied)
Abraham Ozler, released in January, marked Jayaram’s comeback. The film benefited greatly from Mammootty’s cameo and grossed around ₹40 crore.
On 9 February, Premalu and Anweshippin Kandethum were released to critical acclaim. Premalu, a romantic comedy, attracted youth and family audiences, grossing around ₹130 crore worldwide. Anweshippin Kandethum, directed by debutant Darwin Kuriakose, is an investigative film starring Tovino Thomas. It earned over ₹50 crore globally.
Mammootty’s Bramayugam was released on 15 February and became a huge success, grossing ₹70 crore globally. In the film directed by Rahul Sadasivan, Mammootty portrayed the negative character Kodumon Potty.
On 22 February, Manjummel Boys was released, becoming the first Malayalam film to gross ₹200 crore. It earned ₹10 crore from dubbed versions in Telugu, Tamil, and Kannada, and ₹60 crore from Tamil Nadu. The survival thriller, based on a real-life incident, follows 10 friends trapped in the Guna Caves in Kodaikanal.
On 28 March, Aadujeevitham, directed by Blessy and starring Prithviraj Sukumaran and Amala Paul, was released. It became a blockbuster, grossing ₹150 crore at the box office.
In April, during the Eid-Vishu festive vacation, Aavesham and Varshangalkku Shesham were released in theatres, both performing well at the box office.
Aavesham, starring Fahadh Faasil as a local goon in Karnataka, became a sensation. Despite its OTT release within a month, which impacted its theatrical business, the film was a success.
‘Aavesham’ enters ₹100-the crore club. (X)
Varshangalkku Shesham, featuring Dhyan Sreenivasan and Pranav Mohanlal, earned ₹70 crore. In May, Prithviraj Sukumaran and Basil Joseph’s Guruvayoor Ambala Nadayil, directed by Vipin Das, grossed ₹90 crore, making it a hit.
Mammootty’s Turbo, released on 23 May, marked his return to commercial films after two years. Directed by Vysakh, it earned over ₹50 crores at the global box office.
Thalavan, starring Asif Ali and Biju Menon, became a sleeper hit after its release on 24 May. Directed by Jis Joy, the investigation thriller grossed around ₹50 crore.
Ajayante Randam Moshanam, directed by Jithin Laal, was released on 12 September as an Onam release. The movie, starring Tovino Thomas in a triple role, earned ₹100 crore at the global box office.
Kishkinda Kaandam, released on 13 September, became a phenomenal hit. Directed by Dinjith Ayyathan, the movie has a slower pace compared to typical commercial films.
Golam, released on 7 June, did decent business, while Ullozhukku, released on 21 June, received positive reviews from both critics and audiences.
Vaazha, directed by Anand Menon, was released on 15 August. The film resonated with young audiences and families, becoming a super hit.
Sookshmadarshini, starring Nazriya Nazim and Basil Joseph, directed by MC Jithin, is still running in theatres and has grossed ₹50 crore globally.
Pani, starring Joju George, became a major success with its action and thrilling sequences. However, it sparked controversy due to its rape and gory scenes.
Anand Sreebala, directed by Vishnu Vinay, son of director Vinayan, gained attention for its intriguing plot.
December started with the release of Unni Mukundan’s Marco, which was claimed to be the most violent movie ever made in India. While the film has been supported by many filmmakers and young audiences, it has faced criticism for excessive violence and bloodshed. Despite this, it has become a superhit with houseful shows everywhere.
Mohanlal during ‘Barroz’ promotions. (Supplied)
Aashiq Abu’s Rifle Club also has received positive feedback for its perfect making and poignant theme, with women in key roles. It also marks the director’s comeback, following the box-office failures of Neelavelicham (2023) and Naradan (2022).
Suraj Venjaramoodu’s ED (Extra Decent) has been well-received by audiences. The dark comedy, directed by Aamir Pallikal, offers something different, with strong performances from Suraj and Grace Antony.
Meanwhile, Mohanlal’s directorial debut Barroz, a 3D fantasy movie which was released on Christmas day has opened to mixed response.
An exhibitor from Kochi told South First that it’s been a good year for Malayalam films in terms of theatre footfalls. With many blockbuster releases, this year is seen as significant for Malayalam cinema in terms of profit.
Several films that had high expectations before their release failed at the box office.
Mohanlal’s Malaikottai Vaaliban, directed by Lijo Jose Pellissery and released in January, was a major disappointment despite its anticipation.
Other films that underperformed include Nivin Pauly’s Malayalee From India, Tovino Thomas’s Nadikar, Kunchako Boban’s GRR, Dileep’s big-budget Thankamani, and Pavi Care Taker.
Additionally, Antony Varghese’s Kondal, I Am Kathalan, Bharatanatyam, and Level Cross also failed to attract audiences, despite having good content.
2024 also marked the release of the Hema Committee Report on 19 August, after a five-year delay. The report revealed extreme discrimination against women in the Malayalam film industry, including issues like the casting couch and insecurity among women.
The Hema Committee was formed to investigate sexual harassment and gender inequality in Malayalam cinema following the 2017 actress assault case involving actor Dileep. Although the report was filed in 2019, the government delayed its release due to concerns over sensitive content.
Following the report’s release, several women actors filed complaints against actors Mukesh, Jayasurya, Edavela Babu, Maniyanpilla Raju, and others. The report caused a stir in the industry, leading to a crisis within the powerful actors’ body, AMMA (Association of Malayalam Movie Artists). Its secretary, Siddique, resigned after an actor accused him of serious rape allegations. Mohanlal, the association’s president, also stepped down, stating he could not continue during such a critical time. An ad-hoc committee is now leading AMMA.
Kani Kasturi in ‘All We Imagine As Light’. (X)
Malayalam cinema was criticised for the lack of substantial women characters in it big box office successes. The lack of good roles for women in films like Aavesham, Bramayugam, and Aadujeevitham (The Goat Life) sparked discussions in Malayalam cinema. While some supported this view, others opposed it.
However, films such as Aattam, Rifle Club, Sookshmadarshini, and Hello Mummy featured strong female characters.
Speaking on the same, All We Imagine As Light actor Kani Kusruti told South First, in an interview, that it’s about how female characters are shaped in films. She questioned whether scriptwriters and storytellers are considering this and also raised concerns about inclusivity for all genders.
Meanwhile, actor Divya Prabha shared with South First that filmmakers should be judged by their craft, not their gender, and that there’s no need to address filmmakers based on gender.
All We Imagine As Light, a Cannes winner directed by Payal Kapadia and starring Kani Kusruti and Divya Prabha, had a strong run in theatres, especially in multiplexes in Kerala.
The owner of a leading theatre in Kochi told South First that the movie had a tremendous response, with most shows being housefull.
Four old Malayalam films were re-released this year. Apart from Paleri Manikyam Oru Pathira Kolapathatkathinte Katha (2009), the others were successful.
Mohanlal’s Devadoothan (2000), which flopped on its initial release, became a hit when re-released in July. Directed by Sibi Malayil, it saw success this time.
Similarly, Fazil’s critically acclaimed Manichithrathaazhu (1993) was re-released in August and became a success.
Mammootty’s blockbuster Valyettan (2000) was also re-released this year and turned out to be successful.
The success of Malayalam films has led to trouble for producers, with the Enforcement Directorate (ED) investigating the financial transactions of successful films from the past five years.
The ED’s involvement follows disputes over profit-sharing in the blockbuster Manjummel Boys. Allegations have been made against the producers for inflating ticket sales figures to launder money.
Meanwhile, unlike last year, other-language films struggled at the Kerala box office. Big-ticket releases like Vijay’s The Greatest of All Time, Suriya’s Kanguva, Kamal Haasan’s Indian 2, and Allu Arjun’s Pushpa 2: The Rule failed to attract audiences after their initial days.
(Edited by Sumavarsha)
