Kerala   

Strong themes, large investments needed to rejuvenate Malayalam cinema

This year's national awards for films have by and large disappointed Kerala. Is it a pointer to falling standards in Malayalam cinema and the end of the effervescence and verve that once marked the industry? Whatever happened meanwhile to the cinema culture in the State that once boasted of a thriving film society movement? Our readers respond:

Falling standards

We must admit the fact that Malayalam films have lost standards. Malayalam film directors have forgotten their duty of using cinema for social reform, apart from providing entertainment. They aim only at entertaining the viewers through humour and unrealistic love stories. Only a few films, such as Akale and Perumazhakkalam, were exceptions last year, and they got attention in the Indian panorama. The problem is that good stories are not written, and for good films, adequate publicity is not given. Also the conflicts between AMMA and MACTA have reduced the team spirit of people working in the film field.

Dipty Sarin Isaac
Kottayam

Saturation point

It seems as if the film industry in Kerala has reached a point of saturation. The major cause for this may be attributed to unionisation and subsequent groupism followed by mudslinging, accusations and counter-accusations among the professionals and various film-related organisations during the recent past. It is also a fact that we are devoid of visionaries capable of producing good movies on important social and topical themes.

Given this situation, it is heartening that the industry has produced some outstanding movies, such as Kazhcha, Achuvinte Amma and Perumazhakalam.

Then, there are powerful `lobbies' to take home the coveted awards at the cost of others. The stalwarts in the industry, as also the actors and all those concerned with films, should make concerted efforts if they want Malayalam/Kerala to be counted among the best.

K. Aravindakshan
Kochi

Imitating Bollywood

This year's national awards came as a shock for the Malayalam cinema, winning less prestigious awards, failing to exude its usual thought, substance and diversity. Long gone are the days when a film churns together entertainment, excitement and education without much ado. The emergence of Bollywood as a brand has undermined the diversity inherent in Indian cinema, reducing it to a fount of fantasies featuring singing, dancing and melodrama delivered by flamboyant, larger-than-life stars in picture-postcard settings. Buffeted by costly flops and impelled by the multiplex culture, Bollywood's narrative has peddled candyfloss films in regional cinema, as well.

Except for a few filmmakers, including Adoor Gopalakrishnan, Blessy and Mani Ratnam, who continue to make films without compromising on their independence and creativity, the once talented directors, including Priyadarshan and Sibi Malayil, have indulged in feel-good designer romances. A close introspection reveals another startling reality. Many realistic films have failed to make it to the screen and are languishing for want of distributors. Malayalam cinema lacks convincing scripts, eloquent actors and a sensible audience. If the present state prevails, the once mesmerizing magic of Malayalam films will be etched as just a treasured memory for the next generation.

Susan K. Joseph
Kochi

Too profit-oriented

What happened to Malayalam cinema can be understood when we look into the condition of the film industry in other States, such as Mumbai and Tamil Nadu. Here, we are making cinema only for profits. Sure, it is a business. Nobody takes cinema for public purpose. At least, if we are taking some cinemas such as Vanaprastham or Kazhcha, this will be beneficial for Malayalam film industry. But nobody cares to have an acid test on this.

S.N. Thirvazhiode
Kochi

Flawed system

Awards or recognition need not indicate the quality of filmmaking, though the latest disappointment for Malayalam films in this regard is consistent with their quality. Another aspect of the awards system is that personalities are repeatedly favoured than films in any particular language. The reason, perhaps, is that, the system, in itself, is flawed or that successful filmmaking is more about individual genius than about the pooling of all the participants' contributions, in terms of ideas or team spirit.

The once vibrant film societies were being nourished by acclaimed and award-winning films, from which they drew inspiration to enable appreciation and analysis; they were rarely the fertile ground where original ideas developed and were transformed into classics.

Naturally, these societies declined when quality films became rare. Therefore, the current status of Malayalam films is only a temporary setback owing to personalities either exiting the scene or fading away. Although marketing techniques may have improved recently and Malayalam film industry has not kept pace with them, it has to be acknowledged that Malayalam films used to do well internationally even when such means were more modest.

Devraj Sambasivan
Alappuzha

Lack of genius

Malayalam cinema could not make a commendable mark last year. This year's national film awards are a pointer to falling standards, but not the end of the glory once it achieved. The domination of electronic media and the effects of globalisation have propped up an `instant appreciation' culture. Is not the distinguishing marks diminishing between art and entertainment? This trend has affected cinema, literature, music, theatre and even sports.

We cannot expect great cinema every time. I think Chemmeen, Swayamvaram, Ulkadal, Yavanika, Sargam, Neelathamara, Venalkinavukal and Chinthavishtayaaya Syamala are still enjoyable films. We can hope for such or better ones again.

To get good cinema, we have to wait for geniuses; or, we can nurture a better appreciation culture and demand for the synergy of art, craft, and technology. Film societies, critics and the print media can help it happen.

N.V. Rajeevan
Kottayam

Attract talent

Malayalam cinema lagging far behind in this year's national awards is a clear pointer towards our falling standards in the field. The industry is still under the clout of ageing superstars and directors who seem to have exhausted themselves. The new generation of producers appear to be clinging on to routine success formulae and slapstick comedy adversely affecting the stature of Malayalam cinema. But across the border, things have undergone a sea change. Tamil and Telugu movies have broken free from the grip of stereotyped clichéd stories and mythological themes and have started breathing fresh air. Talents are aplenty and so are interesting, offbeat new themes.

With lots of public and media support and ably aided by modern technology and skilled technicians, films from other languages, particularly Tamil, are rising to unprecedented heights of quality and accompanying recognition. This is evident from the films Autograph and Page 3, which won critical acclaim of the media and garnered plenty of awards. So to tackle the situation, we must attract new talent and promote a film culture to suit the times and tides.

Manu Melwin Joy
Thrissur

Losing direction

Lack of good story and direction is the main reason why Malayalam films failed to get any recognition. If there is good cinema, there is lack of distribution, and these are not marketed well. Commercial cinema has attracted filmgoers so much that art films do not get enough encouragement. The Government should provide funds so that good movies are made. Art films need to be marketed well.

Alan Joseph
Kochi

Coordination needed

It is a fact that the reputation once enjoyed by Malayalam Cinema has fallen in recent times. This phenomenon is attributed to the commercialisation of the industry by which film producers are prompted to make substandard films for more profit. In order to regain the diminishing popularity of Malayalam cinema, all who work in the field, including producers and artistes, should collectively resolve to sustain the quality of the film produced. Various organisations associated with film production have a greater role in this. Of course, cinema is the cheapest form of entertainment for the millions. At the same time, it should reflect the numerous problems that society experiences. If it depicts real-life situations in a natural way, without any alteration, it will be more enjoyable and appealing. Cinema is the product of a variety of factors ranging from selection of a theme to release for display, each of which should be depicted with utmost care to suit the needs of the masses for lasting impression. This has been indicated through a special mention by the committee constituted for selection of national awards while recognising Oridam as a good film in Malayalam. Protection of educational values by providing information, and instructions for healthy social life and enlightenment is another characteristic of a good film. Malayalam cinema should, therefore, keep its identity with all vigour and quality to sustain its national as well as universal recognition giving wide publicity.

V. Viswanathan Nambiar
Thrissur

Pathetic situation

Malayalam film industry is facing a pathetic situation, nowadays. A film is meant for spreading some morals through entertainment. But today, a Malayalam film is just an aggregate of some of the most fictive fictions and one or two meaningless songs with some thunderous music. No wonder, Malayalam cinema fares badly at the National Awards.

The problem lies with the young crop of filmmakers. They lack the ability to choose the right theme for their films. Otherwise, how could Mohanlal be the biggest failure in Malayalam in just two months?

Varghese Mathew
Kothamangalam

Effect of serials

The falling standards of Malayalam cinema is mainly because of the popularity of television serials. As most of the producers and directors have turned to producing serials, they are not interested in cinemas. While producing serials is a flexible thing as the producer can change the storyline according to the response of the audience, this is not possible in cinema. Producers even can change the actors or actresses. The compensation that the producers pay to the artistes are also comparatively less compared to cine actors.

P. Sankaranarayanan
Kochi

Clichéd works

When one reviews Malayalam cinemas produced during the past one, only a few films such as Akale (a cinema version of Tennesse William's theatrical classic Glass Menagerie), Kamal's Perumazhakalam and Blessy's Kazhcha can be counted as good ones.

What we need is devoted actors, directors and, of course, producers who aim at exceptional works discarding monetary benefits. Malayalam Cinema is in a critical point on the Indian film industry map. When we observe the graph of Malayalam films for a few years, we realise that only a few films really come on top. After Adoor Gopalakrishnan's Nizhalkuthu, no other film has won much critical acclaim, except T.V. Chandran's Kadhavasseshan. So the trend of Malayalam film is clear. The attitude of television channels, the availability of pirated compact discs and the monetary rather creative indications of many producers are the real causes of the present deplorable condition of Malayalam films.

M.O. Joy
Vattapparambu

Lack of producers

The Malayali jury member of the National Award committee has strongly defended the stand of the committee following criticism that Malayalam movies were deliberately graded down. It is true that Malayalam films have strayed from the artistic path. Commercial interests rule the roost today. Earlier, there were producers who shelled out money to make films of artistic excellence. Even when these films failed to fetch good returns, these producers drew solace from the recognition showered on them. Such producers are difficult to come by today.

N.K.Vijayan
Kizhakkambalam

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