Malayalam cinema on a creative high

If 2015 was a year of fickle and time-tested love for Malayalam cinema, would 2016 be remembered for delightful variety? If current reports are as it seems, this year could very well be among the best for the industry with an amazing line-up of films that stand out for their content strength rather than superstar associations.
Indeed, as Sreenivasan might have observed, the script was king last year. As is customary, one or two successes still spawn superstars, but for the industry at large, the year was defined by directorial brilliance.
Case in point is Alphonse Putharen whose Premam not only was a top grosser (just a tad short of Drishyam, which has the all-time record of grossing Rs60 crore), but also found critical acclaim.
His second film as director, Putharen's treatment of a rather juvenile plotline gave Nivin Pauly his ticket to superstardom as Premam rocked the state of Kerala and other areas with its delightful comedy and straight-from-the-heart narrative.
Moving on, debutant director RS Vimal spun a superb success with Ennu Ninte Moideen centred on real life. While the film 'stars' Prithviraj, it was acting, the heart-wrenching story and directorial brilliance that took the film to the next level. It also gave us another talent powerhouse, Parvathy.
The year that has gone by also gave us another super-hit - debutant director Nadirshah's Amar Akbar Anthony. Starring Prithviraj, Indrajith and Jayasurya, the film aimed to be an all-out entertainer. While the film's artistic merit might be contended, the fact remains that it worked for its intended audience. After all, why can't we just have some fun too?
A handful of 'smaller' films also ran successfully into the box office hit chart. Proving the value of getting youth to watch your films and your money earned, frivolous films such as Oru Vadakkan Selfie, Kunjiramayanam and Adi Kapyaare Kootamani too worked their magic.
While it is easy to brush these films aside as nothing but 'young guys having some fun,' their talent, creativity and ability to innovate even with absurd plots show that Malayalam cinema could surprise you in the months to come.
Leading this new generation of talent are Vineeth Sreenivasan, the gifted son of a father who has sparkling wit in his writing; Aju Varghese, who is increasingly securing his place as the reliable character and comedy actor; Neeraj Madhav, a wonderfully gifted actor; and of course, Nivin Pauly, a 'star' among the lot.
In these youngsters, you can see the promise of an erstwhile Mohanlal-Sreenivasan combo. In 2016 they will return with a film shot in the UAE titled Jacobinte Swargarajyam. Nivin has what it takes to be a surefire hit in director Abrid Shine's Action Hero Biju, where he dons the role of a cop for the first time.
In terms of money, 2015 firmly belonged to Prithviraj. His four hits - including director Sachi's Anarkali and Major Ravi's Picket 43 - saw the actor rake in a collective Rs100 crore at the box office.
2015 was also a year to be proud of Jayasurya. While he might have missed a clutch of awards, social media was swarming with adulation for him with several forcefully stating that he deserved the best actor award, which was presented to Nivin and Sudev Nair.
At the box office, besides Amar Akbar Anthony, Jayasurya recorded success with Jilebi, directed by Dubai-based Arun Shankar, and his home production Su Su Sudhi Vathmeekam.
Another Dubai-based talent Bash Mohammed's debut film Lukka Chuppi, starring Jayasurya, was the toast of critics and among the few Malayalam films selected for the Panorama section of the International Film Festival of India. Bash surprised viewers with his intelligently written and tautly made quirky tale that unfolds in just one lakeside home.
Dulquer Salman may have made an unimpressive start with 100 Days of Love, but went on to gain acclaim from viewers and critics with Mani Ratnam's Tamil film OK Kanmani and Martin Prakkat's Charlie. He also has a promising film in Rajeev Ravi's upcoming directorial venture.
Dileep's Chandrettan Evideya and 2 Countries made money, while Jayaram continued with his so-called 'family movies' that were often regressive and couldn't make much impact. Suresh Gopi was in the spotlight as a villain in Shankar's magnum opus 'I'.
Fahad Faasil could not continue the box office magic but has 2016 lined up with promises in Monsoon Mangoes and Maheshinte Prathikaram, among others. Asif Ali too failed to make any box-office dent, while Kunchacko Boban experimented on his repertoire with the spoof Chirakodinja Kinavukal.
Biju Menon stole the thunder from big stars and newcomers with his effortless comic timing in Anarkali, Madhura Naranga and Salt Mango Tree. There are more in store from him in 2016, as he has been casted in director Ranjith's Leela, which is based on a story by R Unni.
Malayalam cinema last year saw the rise of 'women power', notably with Parvathy and Sai Pallavi, discovered by Alphonse Putharen for Premam. Pallavi will be seen alongside Dulquer Salman in a new film Kali, directed by Samir Tahir.
Manju Warrier, after making headlines earlier with her comeback, had three films in 2015, none of which whipped up a buzz. Lal Jose came with a powerful women-centric film in Nee-Na that gained positive response.
It is not a coincidence that the big stars of the industry - Mammootty and Mohanlal - have a place at the end of the story. It is too soon to say that their 'star status' has been put in place as they continue to earn good initials.
Mammootty's Pathemari (co-produced by Dubai-based Adv. TK Hashik and T P Sudheesh) and Mohanlal's effortless grace in all his movies once again proved why we so love these two men who have ruled Malayalam cinema for nearly four decades. When it comes to sheer performance, they continue to be 'the real deal.'
The problem perhaps is in the disillusioned outlook of directors who solely bank on their star power. Even director Ranjith could not elevate his script to give us back 'the Mohanlal', resulting in the much-awaited Loham to turn into a disappointment.
Mohanlal's last saving grace of the year was Ennum Eppozhum, which did not ignite the box office. But in 2016, he is set to roar with Pulimurugan. Mammootty had some failures in Acha Din and Utopiayile Rajaavu, and a superhit in Bhaskar the Rascal last year, but 2016 looks promising with a line-up of films with newcomers and veterans.
If films are to be judged also for how they dared to push the boundary, directors Lijo Jose Pellissery's Double Barrel, Ashique Abu's Rani Padmini and Anil Radhakrishnan Menon's Lord Livingstone 7000 Kandi did break conventions.
Away from the glitz and glamour, however, Malayalam cinema saw some fantastic films arriving at cinemas, thanks to a concerted attempt by the government. State-run theatres were opened to independent-spirited films.
Films such as Kanyaka Talkies, Ottaal, Kari and Oralpokkam prove that the indie spirit is alive, kicking and very much impressive in Malayalam cinema.
Despite the optimism, the industry still has a long way to go. After all, barely 13 films were certified hits last year out of over 150. Some Rs500 to 600 crore was invested in these movies and just about half recovered.
Malayalam audiences are being increasingly fragmented too; they would eagerly queue up to a Tamil or Bollywood film, merrily abandoning Malayalam films.
That is a dangerous sign: While you can bank on youth power to mint money at the box-office, they can also be the first to abandon you unless you meet their expectations.
The answer thus lies in winning back family audiences again, who are more forgiving. Can the films of 2016 do that? Right now, we don't wager any bet.