Reelz Exclusive KBO - The Box Office Of Kerala !!!

Pathemari-hit
Anarkali -Superhit
Moideen -All time Blockbuster

 

thanx krish

 

Angane Jayasuryakum kitiyalle ee kollam oru Hit..!Aareyum nirashar aakaatha varsham..!

 

Moidheen 2 adikkumo

 

Metro Manorama Calicut Boxoffice ~ December 12

• Su Sudhi Vathmeekam ~ 21 Days -18,59,120

Amar Akbar Antony ~56 Days - 99,78,056

Anarkali ~ 28 Days - 42,63,242

Pathemari ~ 63 Days - 35,55,440

Ennu Ninte Moitheen ~ 83 Days - 1,62,62,430

 

Prithvi Mass

 

Malayalam films: New heroes
New icons of Kerala's thriving movie industry zap jaded demigod Prem Nazir
Sreedhar Pillai
January 15, 1986 | UPDATED 14:27 IST
A +A -
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 is Nokatha 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 when Pushparajan, 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.

 

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