Every year, around this time, people are usually busy wrapping up their professional commitments before packing their bags for a holiday. But cinephiles are a different breed altogether. They are mostly in a frantic rush to catch the year’s missed films and shows so that their ‘favourites lists’ look complete.
However, Malayalam movie lovers will find it hard to compile a ‘Top 10’ list this year for only a handful of films among a staggering 220+ released managed to earn both critical and commercial acclaim. According to various stakeholders, the Malayalam film industry is eyeing a loss of around Rs 300-500 crore this year alone. On a positive note, 2023 also witnessed a new industry hit, a rare Oscar submission from the language, increased interest in long-format content, and like always, some phenomenal experiments.
Ominous Opening
The year started on the worst possible note with a string of failures that neither appeased the critics nor the audience. The sole exception—and relief—during this period was Romancham, a horror comedy that not many gave a chance initially. Jithu Madhavan’s directorial debut, powered by raw humour and Sushin Shyam’s sensational music, emerged as a raging hit, raking in around 70 crore worldwide. The industry was in such a horrible state that Romancham was the only bonafide hit among the 70-odd films that hit screens in the first four months of the year. During this period, there were many high-profile releases, including that of the big Ms, but none could breathe life into the dying theatre business. But it was not soon before the theatres were ‘flooded’... like never before.
Box Office Tsunami
Jude Anthany Joseph’s 2018 - Everyone is a Hero, a film on the Kerala floods, was more of a hurricane at the box office. Keralites from all walks of society, including those directly and indirectly affected, thronged theatres in large numbers to watch the exceptionally well-made survival drama, which was also a perfect tribute to the Malayali spirit and resilience. Fittingly, it emerged as the highest-grossing Malayalam film of all time, besides becoming the first from the industry to register a business of over 200 crores. However, the icing on the cake was when it got chosen as India’s official entry for Best International Feature Film at the 96th Academy Awards. It became only the fourth Malayalam film after Guru (1997), Adaminte Makan Abu (2011), and Jallikattu (2019) to be selected as the nation’s official submission for the Oscars, although it failed to make the final 15.
Action-packed Onam
Every Onam, the Malayali community get themselves ready to welcome their beloved king, Mahabali. This year’s Onam witnessed the arrival of another King—not from Paatal Lok, but from Kotha. Dulquer Salmaan’s King of Kotha (KOK) was easily the most hyped Malayalam film of the year, but as it often happens, it succumbed to expectations and tanked. The pan-India film was panned by critics and commoners alike and ended up as a colossal disappointment. The second biggie in the three-way Onam clash was Nivin Pauly’s heist thriller Ramachandra Boss & Co, which also vanished without a trace. The real Onam heist, however, was pulled off by RDX, headlined by Shane Nigam, Antony Varghese, and Neeraj Madhav. Directed by debutant Nahas Hidhayath, the action-packed entertainer set the cash registers ringing during the festive season. As claimed by the makers, RDX did an overall business of over ₹100 crores, which is a massive feat for a film featuring no A-listers.
Mammootty’s Midas Touch
If one has to choose the most outstanding performer of the year, the instant choice among the majority has to be Mammootty. Continuing his rich post-pandemic form, the superstar kickstarted the year with a phenomenal performance in Lijo Jose Pellissery’s Nanpakal Nerathu Mayakkam (NNM). His brilliant portrayal of two men of contrasting temperaments, ethnic and religious identities won unanimous praise, including the top recognition at the Kerala State Awards. Though his second release of the year, Christopher, which had him as a vigilante cop, was a forgettable affair, the veteran bounced back with yet another cop role, albeit of a contrasting nature. Although the actor has played numerous police characters in his career, he continues to infuse minute variations in his portrayals, and Kannur Squad’s ASI George Martin was a perfect testament to that. As a veteran cop heading a team on a North Indian mission, there were some striking similarities with Mammootty’s own Unda. However, he ensured that the similarities remained just on paper by delivering a measured performance sans any shades of his previous cop roles. Doing business of over 100 crores, it is one of the biggest moneyspinners of Mammootty’s career.
If you think Kannur Squad’s success was the peak of Mammootty’s 2023 run, take a breath because the best was yet to come. Kaathal – The Core. The Jeo Baby directorial had Mammootty playing a closeted gay man struggling to come out because of age-old societal concerns. A superstar like Mammootty, who thrived on alpha male roles, backing a film like Kaathal is a watershed moment in Indian cinema, and it, deservedly, is spoken about across the country.
Besides critical acclaim, the film exceeded expectations by managing a successful theatrical run as well. Interestingly, all three of his well-received films (NNM, Kannur Squad, and Kaathal) this year were bankrolled by his own production house, proving himself to be a smart businessman as well. In hindsight, the 100 crore success of a Kannur Squad is imperative to fuel experiments like Rorschach, Nanpakal Nerathu Mayakkam, and Kaathal. With promising films like Turbo, Bazooka, and Bramayugam lined up, 2024 already looks shiny for the star.
The Long-Awaited Comeback
The last couple of years have been gloomy for Mohanlal, and his fans in general. Though he had the occasional OTT success with Drishyam 2, Bro Daddy, and 12th Man, the absence of theatrical success remained a talking point. After a disastrous start to the year with Alone, the superstar’s fans got glimpses of a glorious comeback in the Tamil film, Jailer. Though Mohanlal had only limited screen time, he managed to create a lasting impression with his charismatic presence. Director Nelson was lauded for presenting Mohanlal in a stylish mass avatar, with many even demanding a character spinoff. However, the wait for Mohanlal’s individual theatrical success continued. It finally took Jeethu Joseph to offer Mohanlal a film and role that did justice to his true potential. Though the actor-director had a successful track record, expectations around Neru were minimal, just like how it was ten years back, before the release of Drishyam. But as the release date closed in, one could sense the hype soaring with Mohanlal and the makers sounding increasingly confident about the film. Upon release on December 21, Neru opened to positive talk from all corners, including an appreciation for Mohanlal’s emotionally-charged performance as a vulnerable-yet-determined advocate. Going by the trade reports after a week’s run, it’s safe to say that the film is on course to become a blockbuster. Even if box office reports are contentious, there’s a general concurrence that Mohanlal, the performer, is well and truly back.
Web Series Galore
Despite being hailed as a content-rich industry, Malayalam cinema had been lagging far behind in long-format storytelling. But 2023 saw major streaming platforms greenlighting some exciting projects, which ranged from thrillers to comedies. Disney+ Hotstar set the ball rolling with Kerala Crime Files, a six-episode investigative thriller series that earned a good response. The streamer followed it up with Master Peace, a quirky comedy with a Wes Anderson-esque aesthetic. Their upcoming slate includes Perilloor Premier League, a political comedy, Nivin Pauly’s Pharma, the Nithin Renji Panicker directorial Madhuvidhu, Love Under Construction, starring Neeraj Madhav, Aju Varghese and Gouri G Kishan, and 1000+ Babies, headlined by Rahman and Neena Gupta.
Sony LIV, another major player, has also commissioned a few interesting projects. It includes Saiju Kurup’s slice-of-life comedy Jai Mahendran and National award winner Krishand’s Gangs of Trivandrum (tentative title). Similarly, Kerala-based HR OTT is backing a new series Pan Indian Sundari, headlined by Sunny Leone. Besides this, top-league streamers like Netflix and Amazon Prime are also in talks with various Malayalam filmmakers. Notably, Netflix recently released its first Malayalam true-crime documentary, Curry and Cyanides. Directed by Christo Tomy, it is based on the Koodathayi serial killings. The Kerala government is also planning to launch its own OTT platform, CSpace, by early next year. Dubbed as India’s first state-sponsored OTT platform, it will feature films with artistic value, along with internationally-recognized and award-winning films, short films, and documentaries.
Title Trouble
It’s one thing for a film to become a trendsetter and others to follow suit. But how about a film’s title being an inspiration? Ever since the release of Ayyappanum Koshiyum (2020), there has been a surge in similar-sounding two-word titles. 2023, in particular, saw the release of several such films. Pakalum Paathiravum, Maheshum Marutiyum, Pachuvum Athbutha Vilakkum, Jawanum Mullapoovum, Kallanum Bhagavathiyum, Njaanum Pinnoru Njaanum, Sasiyum Sakunthalayum... Also, the year saw several other weird titles like Achanoru Vazha Vechu, Aaromalinde Adhyathe Pranayam, Somante Krithavu, and Rahel Makan Kora, none of which escaped trolls.
Sequel Obsession
There was a conspicuous sequel obsession among Malayalam filmmakers this year. With a highly intriguing open-ended climax, Romancham is perhaps the only film that warranted a sequel. Kannur Squad and Garudan are the two other films with sequel potential, and their makers have already confirmed their plans. While the second part-tease in Nalla Nilavulla Rathri and Pulli were desperate attempts to tie the gaping loose ends, the tail ends of Bandra and King of Kotha were direct rip-offs from Lucifer and Vikram, respectively.
Review Bombing
2023 saw a growing intolerance towards reviewers among Malayalam industry insiders. Several actors and filmmakers openly spoke about the defamatory nature of reviews and their unhealthy influence on a film’s box office fate. The makers of Bandra, Ramachandra Boss & Co, Aaromalinde Adhyathe Pranayam, and Rahel Makan Kora had sought legal intervention against reviewers and vloggers, alleging deliberate degrading. Things escalated when the Kerala High Court took cognisance of the issue and observed that “reviews are intended to inform and enlighten people and not destroy and extort”.