█▌▌Industry Hits,All Time Blockbusters & Top Grossers ◆ A Retrospect Of KBO Across The Years ▌ █▌

hmm...fair enough....neriya munthookam okke ororutharude ishtam pole

 

Enkil nalla munthookam thanne ennum parayam..2005il Maminullath 1 RB,1 BB,2 SHs,1 Hit,1 avg..Lalinullath 2 BBs,1 SH,2 Flops..!Ini aarku ethra munthookam ennu nokiko..
2004il Ikkak BB CBI,SH Vesham,Hit Kazhcha,Black,Avg Vajram..Annanu Naturajavund Hit/SH aayit..Pinne Mambazhakalam avg..
2006 Lalettan year..
2007il Maminu 1 BB,1 MH(Guest but heavy impact),2 avg (BigB,Roudram)..Annanu BB Hallo,SH CM..

 

2005 le mam films ethokeyanennu onnu paranje.....2007 il average okke add cheythittundallo..roudram avg aanel alibhai okke avg aanu..

 

http://www.thehindu.com/2005/11/21/stories/2005112100440200.htm

DRAWING IN THE CROWDS: Kavitha theatre in the city, which has been screening only Mammootty films for the last 326 days. Photo: H. Vibhu



If actor Mammootty is breaking all records (at the boxoffice), can Kavitha theatre in Kochi be far behind? The theatre is trying to enter the record books by screening Mammootty films. For the last 326 days, Kavitha has been exhibiting only his films. Beginning with V.M.Vinu's Vesham to Anwar Rasheed'sRajamanikyam, the theatre has exhibited the actor's last six releases in a row.

"There will be theatres that might have screened a particular film for years. But I think our record is unique. All Mamootty films released during the last one year were screened in Kavitha," says Saju Johny, executive partner of the theatre. It all began on December 24 last year when Vesham was released. The movie clicked asserting Mamootty's star value at the boxoffice.

Breaking records


On March 18, Shafi's Thommanum Makkalum opened on a big note. "It broke all previous records. The movie had a 100-day run. We had special screenings on select days following heavy rush," says Mr. Saju. The unprecedented rush for the movie inspired him to wait for another Mamootty movie. It did not last long.

Thaskaraveeran came next. The movie could not sustain the momentum created by Thommanum Makkallum. But Kamal'sRapakal with Mamootty, Balachandra Menon and Sarada in lead roles became a hit. "Rapakal was released on June 24. It was the fourth Mamootty film to be screened at our theatre.Nerariyan CBI released on September 8 was the fifth flick," says Mr. Saju.

Special guest


Kavitha had a special guest during the screening of Nerariyan CBI. Mammootty himself turned up at the theatre to watch the movie. Five shows were screened during the initial weeks of the release of the movie.

Breaking all records, the theatre is now running director Anwar Rasheed's Rajamanikyam. "We are screening five shows of the movie daily for the last two weeks in view of the overflowing crowd," says Mr. Saju. The growing market for Mamootty films prompted the exhibitor to wait for every release.

Mr.Saju has a word of appreciation for Appachan of Swargachitra Release for exhibiting three of his films in Kavitha (Vesham, Rapakal and Nerariyan CBI). He is not sure whether the next release would be a Mamootty film. The main reason being that Rajamanikyam (now running) is expected to remain for many more days to come.













G. Krishnakumar

 

ithinidakk hridayathil sookshikkan release cheythirunnu ennu lal fans parayunna kandittund.....

 

Strictly based on media reports..!

 

velli adyam itta report vallom aavum...rappakal hit nerariyan average ..rm rb thomman bb bakki 2um flop...tinju vinodu vadikkan chumma oronnu ezhunnallikkanda...

 

He is cool. He is tough. He has steel in his eyes. He does not rant at the drop of a hat, but when he talks the lines are punchy enough to hit the audience hard. Mammootty, the 38-year-old lawyer-turned-star of the Malayalam cinema, may be the idli variant of a Sly Stallone; but he belongs to a crop of new icons of Kerala's thriving movie industry which has zapped the jaded demigod Prem Nazir, undisputed king of the state's silver screen for 25 years. The new films that are drawing audiences in droves are neither the corny tear-jerkers nor the B-grade erotica of the Nazir era but films rooted in life. And the new heroes, unlike their predecessors, are less windows into what the audience would fantasise itself to be than mirrors to what it actually is.

It was most startlingly demonstrated by the success of Yatra, the biggest hit of 1985 which grossed Rs 19 lakh in the main circuits. Mammootty plays a forest officer who is picked up by the police on the suspicion of being a terrorist and, in scenes somewhat embarrassingly reminiscent of First Blood, is subjected to brutal torture in custody. Later he kills a cop in his fury, in the best manner of Stallone. He is subsequently hunted down, imprisoned, and, at the end of the term, reunited with his lover. But, in the process, director Balu Mahendra turns upside down some of the stale conventions of Kerala's "heroic" cinema, bringing dialogue close to life and making violence believable on screen.

If Yatra had been a forerunner of the sweeping changes in audience preferences, there have been a host of other films pointing invariably in the same direction. Notable among them isNokatha Dooratu Kannum Natu, made by young film maker Fazil, which caused a stampede at the box-offices despite the fact that his script does not have a male lead. Nokatha's story revolves around the loneliness of an old woman, played with a great eclat by the faded star Padmini. It had superb performances all around, particularly by Nadiya Moidu, a vibrant teenager who played the old woman's granddaughter. The point is, Nokatha became a runaway hit without any of the conventional ingredients of commercial cinema - such as the usual burlesque, the running around trees, the heavy doses of oratory and display of gladiatorial skills.


The change has been all-embracing, and only those who have adapted their art to the times have survived. I.V. Sasi, whose Her Nights rode the crest of an erotic wave in Malayalam cinema, now makes films where the heroine does not even drop the pallav of her sari. Instead, in his latest Kanamarayatu, Mammootty plays a middle-aged bachelor reluctant at first to be seduced by a luscious 18-year-old but who later on succumbs to her charm in the Mills and Boon tradition. The story-line may be banal, but it has worked at the box-office. In his latest Karimbin Poovin Akkare, Sasi blends a streak of villainy with machismo in hero Mohanlal who rapes a woman, kills her husband, puts the girl in a brothel and yet manages to ride into the sunset. And the producer goes laughing to the bank.

Says Sasi: "The concept of the hero has totally changed. The hero is no longer a chocolate-faced do-gooder. In fact there is only a thin dividing line left between him and the villain." His theorisation is not plain academic. The acceptance of the mingled yarn on screen now looks complete with the matinee crowd, which forms the hardcore film-going audience in Kerala's matrilineal society, lapping up the new films. And if they have rejected the aura of a Prem Nazir, they have pulled into limelight the likes of Mammootty, Mohanlal and comedian Balachandra Menon. Even the art-conscious parallel cinema is now waking up to the new realities. G. Aravindan, the acclaimed maker of many a Malayalam masterpiece, has decided to cast Mammootty in his latest film.

With the new personalities blitzing their way into the limelight, a lot of film conventions have changed too. Gone are the garish costumes, the outrageously extravagant sets and the soft-focus photography. In Kathode Kathoram, Mammootty is shown wearing the same mundu (dhoti) and kurta throughout the film. A mature actor like Gopi, who won the Bharat award for best acting in Adoor Gopalakrishnan's classic, Kodiyettam, does not have to hide his bald pate under a wig any longer.

Nazir, at the other end of the spectrum, is a sad man now. His decline started in 1984 whenPushparajan, a mindless extravaganza, bombed at the box-office. He flirted briefly with the anti-hero role, but it failed to click. Finally he had overpriced himself, charging a kind of remuneration - since film budgets seldom exceed Rs 14 lakh - which Malayalam cinema could not permit.

But now, with the whirligig of show business taking a new course in the coastal state, the question that looms largest is: whether the new attraction for naturalism will survive? The coming of age of Malayalam cinema will depend to a large extent on whether the new breed of film makers can stay close to life and yet sell their products. If they fail, the era of melodrama will only return in a new garb.

@Inspector Balram @Mayavi 369

 

Ever since I.V. Sasi and N.G. John's political thriller Eenadu became south India's biggest box-office grosser last year, film makers have been eagerly cashing in on the popular new trend of political satire.

Iniyenkilum(1983) Rambling Table: Sasi's film states that with this sort of a system in operation, the Japanese example will simply not work. But with Sasi not losing any opportunity to fire broadsides at the many topical instances of corruption coming to light in Kerala, and using events such as communal clashes, police inaction and the like, the film just rambles along.

Mohan Lal, the director's new blue-eyed boy is superb as the idealistic Ravi, while his regular hero and top-star Mammootty easily outshines everyone else as the villainous politician. Seema, Sasi's wife, has nothing more to do than swing her hips. Even with excellent camera work by J. Vincent, however, Iniyenkilum is as sloppy and weak a patchwork as Karunakaran's coalition government.

@Inspector Balram @Mayavi 369

 

ithu kalakki...evidunnu kitti?