South First delves into the dynamics of film success in the digital era, with a spotlight on the upcoming releases of 'Kalki 2898 AD' and 'Indian 2', while also exploring the interplay between star power and storytelling.
Published Jun 26, 2024 | 6:22 PM ⚊ Updated Jun 26, 2024 | 8:17 PM
Films, maybe big or small in scale, but their core plot or emotion has to work across sections of the audience, for them to garner universal success. (Supplied)
Nag Ashwin’s highly anticipated film, Kalki 2898 AD, will be released on 27 June. The movie features a stellar cast, including Amitabh Bachchan, Kamal Haasan, Prabhas, and Deepika Padukone. Notable actors such as Shobana and Pasupathy also play key roles.
A film of this magnitude is designed to be a theatrical spectacle, with an epic runtime of just over three hours. However, we have become accustomed to such lengthy “thrill-packed” films, and this is only part one. Regardless of its box-office performance, Kalki 2898 AD, is expected to generate significant excitement on OTT and satellite TV platforms. This is due to its star-studded cast, the pre-existing hype, and the unique content, which will attract additional audiences who prefer watching from the comfort of their homes.
Films with a mighty line-up of cast and crew do have an advantage of performing well in the movie halls and as well as, in our drawing rooms. However, that doesn’t mean producers should only make star-led extravagant films to be able to make good investments across mediums.
Stars, undoubtedly, serve as the “calling cards” for a film, attracting the initial audience. However, it is ultimately the story and the quality of the filmmaking that determine the movie’s success at the box office and beyond
Let’s examine recent films from the south that have become blockbusters. While some have thrived in theatres, they haven’t always fared as well on smaller screens. Online critics, including many who don’t review movies professionally, often mock key scenes to the point of hilarity, leaving us to wonder, “What made this film so applause-worthy on the big screen in the first place?”
Actor Vishal in ‘Mark Antony’. (X)
Recently, there’s been a growing disparity between a film’s box office success and its performance on OTT platforms. For instance, Mark Antony (2023) was a huge hit at the Tamil box office but faced criticism when it was released online. Or, consider the Malayalam film, Premalu (2024), which some found underwhelming on OTT but was a hit at the box office, across regions.
The “perception value” of a film when viewed on a smaller screen, when juxtaposed with its performance in theatres, gives us an understanding of the kind of films that may do well in either arena or both. But if a film is good in all aspects then does the screen size matter?
It’s a misconception that small-budget films are only suited for small screens and big-budget films need larger screens. If this were true, most Malayalam films would be confined to OTT platforms. However, the success of the Malayalam film industry proves otherwise. It is breaking box-office records with its diverse stories and talented actors and filmmakers. Whether it’s a film starring a mega-star like Mammootty or one featuring newcomers, Malayalam cinema, consistently, showcases that good films can succeed across various budgets and genres.
OTT platforms have revolutionised viewership patterns by transcending language barriers and uniting audiences to experience stories from all corners of India. Watching films with subtitles has become seamless and enhances the visual experience. However, there remains a divide between a film’s success in theatres versus on streaming platforms.
A poster of ‘Aavesham’. (X)
Aavesham (2024) is a prime example of a film that left a profound impact when I watched it twice in theatres. However, the experience was somewhat subdued on OTT, lacking the collective energy of others clapping and laughing along with me. Do these observations suggest that a good film may not achieve the same level of success if it is released on OTT after performing well in theatres?
Perhaps, the viewership numbers for the Fahadh Faasil-starrer, or other similarly popular films on OTT platforms could still be substantial. However, our perception of a film can subtly change when we watch a highly anticipated film alone in our private space. This highlights the importance for producers to support compelling stories presented by writers and filmmakers, providing them with the resources needed to create quality cinema.
Then there’s the aspect of hype. Consider the recent Tamil blockbuster, Maharaja (2024). It features a standout performance by Vijay Sethupathi but also delves into violent themes like rape and revenge.
When a friend asked me if Maharaja is suitable for her 15-year-old daughter who wanted to watch it with her classmates due to the buzz surrounding the film, what should I tell her? The film is classified as U/A, but I believe it should have received an ‘Adults Only’ rating (similar to Sandeep Reddy Vanga’s 2023 film, Animal), as it deals with themes that aren’t light-hearted and may not be suitable for a group of kids to watch together.
Crime thrillers and horror comedies (where sometimes the comedy itself can be horrifying) should receive appropriate certification based on their level of violence and adult content.
A still from ‘Maharaja’. (X)
It’s yet to be seen how well, Maharaja, will perform on OTT platforms, but it’s likely to attract viewers there, too, due to its leading man, which is a key factor in the film’s potential success on both big screens and small screens alike.
Stars contribute significantly to a movie’s impact, making it a shared responsibility for them to collaborate effectively with filmmakers and bring justice to a strong script.
Another film that is receiving considerable criticism upon its release on OTT is Sundar C’s hit, Aranmanai 4 (2024). At the heart of the film is Tamannaah’s emotionally intense flashback and a thrilling climax featuring stars Khushbu and Simran, in a dynamically-filmed Amman song. These were the exact elements that attributed to the film’s success in theatres, but now those scenes have become fodder for memes.
Maybe, being turned into a meme indicates that the film has been widely watched and has become a notable part of the year’s pop culture. The idea that a younger generation can create humour around content potentially contributes to a film’s lasting appeal and popularity, even if it’s somewhat in a negative light, can’t be overlooked.
In Telugu, Mahesh Babu’s film, Guntur Kaaram (2024), which reportedly grossed over ₹500 crore in theatres, did not resonate well when it became available on Netflix.
While we might initially choose a film based on our admiration for the actor, it’s compelling storytelling that keeps us engaged and makes us watch the entire film without rushing. Thankfully, OTT platforms give us the option to fast-forward, if needed.
Prabhuram Vyas directed, Lover, featuring Manikandan and Sri Gouri Priya, is another film that garnered significant praise on social media upon its release but didn’t receive the same level of love on OTT platforms.
Soori in ‘Garudan’. (Supplied)
Films, maybe big or small in scale, but their core plot or emotion has to work across sections of the audience, for them to garner universal success. Today, a film’s online presence and reputation can be built and maintained through influencer posts and promotions. However, as always, theatrical box-office numbers remain the most reliable measure of a film’s true reach.
Garudan, starring Soori in the titular role, is one such hit of the season and its release on OTT should be met with a good response; thanks to the pre-existing good word on the film.
Factors like “reviews” and “buzz” about a film’s storyline and performances play a crucial role in determining its success, both in theatres and on OTT platforms, alongside the ratings it achieves on satellite TV.
Many established actors have films that are currently on hold because OTT platforms are no longer offering the high rates they previously did. This pause signifies a beneficial break from the practice of inflating film prices beyond their actual market value.
This situation could potentially encourage OTT platforms to scrutinise a film’s content more thoroughly, rather than making acquisition decisions solely based on the star power, associated with it.
Ideally, a film’s commercial success hinges on a variety of factors, including the lead actor (with hopes that heroines will also soon be equally valued in this equation), director, production company, and more. However, the responsibility for a film’s success should not entirely rest on the shoulders of the actor. The director and producer should hold equal, if not greater, significance in the analysis of a film’s commercial performance.
In cinema, the director holds the reins, with actors serving as instruments to bring the writer/director’s vision, supported by a producer, to life. However, whether in theatres or on OTT platforms, our decision to watch a film, still predominantly, depends on the star cast.
Therefore, the primary factor in minimising the gap between a film’s theatrical release and its online availability should be its story, script, and content.
Allu Arjun in ‘Pushpa: The Rise’. (X)
Malayalam films such as Kannur Squad (2003), Bramayugam (2004), and Manjummel Boys (2004) have achieved success in both theatres and on other platforms due to a harmonious blend of star power and high-quality storytelling. In Tamil cinema, Vignesh Raja’s Por Thozhil (2023), serves as a fine example of such a film.
In Telugu, films like Allu Arjun’s Ala Vaikunthapurramuloo (2020) and Pushpa: The Rise (2021) have the repeat-watch value. Similarly, Mani Ratnam’s Ponniyin Selvan franchise (2022, 2023), along with blockbusters such as Vikram (2022) and Jailer (2023) also hold this appeal. The ‘demand’ of wanting to watch a favourite matinee idol is met with ‘supply’.
Sequels and re-releases often find success on OTT platforms (such as Indian 2, scheduled for release on 12 July, with a runtime close to three hours) due to their nostalgic appeal.
Another pressing trend to note is the steep cost of movie tickets for families or friend groups, these days. If one person watches a film and likes it, they can sway their entire family or group of friends to wait and view the film on OTT platforms at a later time.
This trend may not apply to films like Kalki 2898 AD or Indian 2, where everyone is eager to watch an epic as soon as it hits theatres. In this scenario, a film led by a major star holds an advantage, but positive word of mouth is equally crucial for getting the entire family to watch the film promptly.
So, how can filmmakers and producers ensure their films succeed both in theatres and on streaming platforms?
Kamal Haasan as Senapathy in ‘Indian 2’. (X)
A straightforward approach would be to concentrate on creating engaging stories that can be fully developed into scripts. These scripts should be offered to actors aligned with the story, emphasising their emotional connection to the narrative rather than purely financial considerations. Certainly, top-tier stars can afford to approach things differently. However, for long-term sustainability, following this process ensures security for producers, actors, and writer-directors alike.
Most of the time, producers prioritise chasing after stars (considering their pivotal role in the film hierarchy) and then attempt to align a story with the star’s availability. Even when a star confirms her or his availability, the producer should ensure there is a finalised script that garners their full confidence. This approach can attract the necessary investment required to initiate the film production. Next, securing a distributor partnership ensures a seamless theatrical release, followed by potential revenue from OTT, satellite, and overseas markets.
However, the entire production process starts with a compelling story, which ultimately attracts audiences both in theatres and in their homes.
Is this easier said than done? Filmmakers, producers, and actors ought to answer.
(Edited by S Subhakeerthana)
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