Before You Compare Mollywood and Kollywood…

There has been a debate on social media claiming that Malayalam cinema or Mollywood is far superior to Tamil cinema. People often say that Kollywood does not make movies like the Malayalam industry, or that they have a lot to learn from them. Some even argue that if a few Tamil films had been released in Malayalam, they would have been celebrated as masterpieces. But before romanticising this comparison, it is important to ask a simple question. On what basis are you comparing two massive industries that function under completely different systems and audience mindsets.

Let us start with the numbers. In 2024, the Malayalam film industry released around 200 films. The Tamil industry released slightly over 250. Out of those 200 Malayalam films, only about 25 to 30 were considered successful either commercially or critically. And out of that list, most people can name only a handful that went viral on social media for example films like Manjummel Boys, Guruvayoor Ambalanadayil or Kishkinda Kaandam. So how fair is it to generalise that Malayalam cinema is always better. For every Bramayugam there are ten others that no one even talks about. The same applies to Tamil cinema. Both industries make good films, average films and bad films.

Now coming to the next question, if Tamil cinema has so much talent and resources, why do we still make so many forgettable films. The answer lies not just with the creators but also with the audience. What kind of films do Tamil audiences celebrate the most. Mass commercial entertainers. The kind of films where logic takes a back seat but whistles fill the theatre. So what do filmmakers make next. Another film that caters to that same mindset. Because in the end cinema is business, not charity.

Even Director Sundar C once said in an interview that if Tamil audiences had supported Anbe Sivam he would have made more such meaningful films. But when those films fail and the same audience celebrates his Aranmanai series what message does it send. Directors simply follow demand. If the crowd only rewards commercial formulas, then art will naturally become formulaic. The audience has as much responsibility as the filmmaker.

Now let us talk about the argument that “if this Tamil film had released in Malayalam it would have been celebrated as a cult". That line has been repeated so many times that it has lost meaning. Great cinema is not about where it releases but about how it is written. Writing is the backbone. This is one area where Kollywood has truly fallen behind. Directors here want to take credit for everything like story, screenplay, direction and somewhere in this process, the film loses its depth. Malayalam cinema on the other hand, treats writing as a separate discipline. There is a writer who lives and breathes the script, and a director who interprets it. That distinction matters.

Kollywood also suffers from another illusion that casting an actor with a fan base can guarantee success. It does not work like that. Compare the choices of top stars in both industries. Rajinikanth’s last four films were Coolie, Jailer, Vettaiyan, Annathey. Mammootty’s last four were Turbo, Bramayugam, Kaathal, Kannur squad. The difference is evident. One relies on the image, the other experiments with roles. You might say the actors make their own choices, but in truth they mirror what the audience demands.

The issue is not that Tamil cinema lacks talent or that Malayalam cinema is flawless. The issue is that you as viewers, have created a culture where mediocrity sells and craft struggles. When we cheer for repetitive stories, we tell filmmakers that this is enough. When we mock films that try something new, we push the industry a step back.

So before making another sweeping statement that Malayalam cinema is better, ask yourself who is really responsible for what Tamil cinema has become. The problem is not with the filmmakers alone. It starts with the audience that decides what deserves to be celebrated.

Kantara Chapter 1 Review

Kantara Chapter 1 released in 2025 under the direction of Rishab Shetty who also plays the lead role. The film features Rishab Shetty, Rukmini Vasanth and Jayaram in prominent roles. Music is composed by B. Ajaneesh Loknath, while the cinematography is handled by Arvind S. Kashyap. Together they build a strong technical foundation for a film that attempts to go deeper into the roots of faith, power and people.

The story works as a prequel to Chapter 2. While the earlier film explored the clash between the landlord and the tribal community, this chapter moves further back to show the king, his rule and the oppressed tribes around him. On paper it connects well with the themes of oppression and survival. In execution though the first half lacks clarity. It swings between strength and weakness, moving in and out without a steady grip.

The acting however is a major strength. Rishab Shetty once again proves his command over the screen. Rukmini Vasanth delivers her role perfectly and Jayaram does with conviction. Even the supporting cast shines, especially the comic roles. The humour flows naturally and creates moments where the entire theatre bursts into laughter. At the same time the film shifts into serious spaces with equal impact. Each actor delivers their part very well.

The cinematography is the real standout. Arvind S. Kashyap brings visual mastery to the film. The colour palette, the lighting and the detailing of each frame lift the story beyond its flaws. Certain shots look breathtaking. Especially the visuals of the tiger. It is proof that with proper investment and vision, a film can look truly cinematic.

Music and sound work land in a mixed space. Ajaneesh Loknath’s songs are strong and blend well with the mood. The background score works at times but in certain theatres the sound mixing created an imbalance where the bgm was louder than the dialogues. This reduced the clarity of some important scenes. Screenplay too feels uneven. At places it is engaging but often loses its direction. The film stretches unnecessarily and even feels like it has two endings. What should have been wrapped neatly is dragged out, which weakens the impact.

That said Kantara Chapter 1 still has several goosebump moments. The way godly elements are portrayed hits with raw power. Even someone who does not believe in divine forces can feel those sequences. The difference from Chapter 2 is that this one leans more into fantasy, which at times feels out of place compared to the raw realism of the earlier film.

There is also an interesting look into history, especially the barter system and the dynamics of power between oppressor and oppressed. These small touches ground the film in reality and add depth to the story.

Overall Kantara Chapter 1 is a decent watch. It has flaws in writing and pacing but it also delivers memorable visuals, strong acting and powerful moments. This is a film that deserves to be experienced on the big screen.

Rating: 6.5/10 ⭐️

The Price Of Idolizing - Part 2

In the previous part we saw how idolizing politicians and actors blinds citizens and turns tragedies into stages for their politics. The cycle of glorifying leaders while ignoring accountability has been repeating for decades. The same culture of idolizing exists in another space that touches millions, cricket.

Let’s talk stars. Sachin Tendulkar and Virat Kohli are revered as god and King of cricket. Their records are celebrated and their influence is unquestioned. But this adoration shields them from accountability. When matches are lost due to their repeated errors or strategic failures, criticism is muted. The team suffers, the nation suffers, yet the individual continues to be idolized. 

India has won only two ODI World Cups in all these years despite being a country obsessed with cricket. This nation has produced extraordinary players, stars who are celebrated as gods, yet the results do not match the worship. This gap is not due to a lack of talent or resources but due to the effect of idolizing.

When a player underperforms in nine matches and shines in one, the nation celebrates that single success while ignoring the failures. Stars are protected with phrases such as “form is temporary, class is permanent” even when those temporary failures cost the country crucial tournaments. Idolizing shields them from accountability, and in the process the team and the nation suffer.

Countries with multiple World Cups follow a different approach. Players are treated as professionals. If performance dips over time they are benched, regardless of their past reputation. Decisions are made for the team, not for preserving an image. In India, once a player is idolized, endless chances follow. Youngsters with talent and hunger are often seen carrying water while established stars continue despite repeated underperformance.

This is the price of idolizing. Tournaments slip away, trophies remain elusive, and yet the focus stays on individuals and personal milestones. The cricket board earns, broadcasters earn, players earn, but fans and citizens lose. Time, money, and collective pride are spent, yet the return is meagre because accountability is sacrificed at the process of worship.

Cricket in India has shifted into a business where fans are no longer participants in a sport but consumers in an industry. Cheering is directed more at individuals than at results. The culture has moved from respect to blind faith, and the fact is blind faith never builds champions.

Until players are seen as professionals first and not as gods, victories will remain a dream and cycles of disappointment will continue. Personal records may rise and endorsements may multiply, but the nation will always fall short of its true potential.

This is what idolizing costs. It is not restricted to cricket alone, but shows a deeper national pattern of worshipping individuals instead of demanding results. And in that blindness of idolizing the people themselves are the ones who suffer.

Citizens or Fools? The Price of Idolizing - Part 1

In Karur, a tragedy happened during a rally held by an actor turned politician. The event which was intended to display political strength turned into a nightmare when a stampede broke out. Reports say close to forty people lost their lives. Families were shattered in a matter of minutes. Fathers, mothers, daughters, sons, people who simply came to witness a political spectacle, never returned home.

Soon after the incident politicians rushed to the spot, offered condolences and shed tears in front of the media. The party that conducted the rally announced monetary compensation. Opposition leaders used the moment to question the government. Supporters of the actor stood by his side and defended him when critics held him responsible. And now that the actor has released a statement, the same voices have turned the blame back on the ruling party. The issue has stopped being about the people who died. It has turned into a tug of war where political groups and celebrity fans pull the narrative in whichever direction serves them best.

Do you notice the pattern here. Nearly forty lives were lost, yet the debate has shifted entirely to image building and blame games. A tragedy that should have united people in grief has instead become a platform to glorify or vilify powerful figures. When a politician or a star is involved they are projected as larger than life. Their explanations or their silence becomes the centre of discussion, while the actual loss is pushed aside.

This is not new. Every time a crisis occurs, the same script gets executed. An opposition party blames the ruling side, citizens celebrate the courage of the opposition, eventually that party comes to power, and in time they repeat the same mistakes. All along citizens are the ones who suffer. We are distracted by the drama of political heroes and celebrity idols, and we forget that it is our lives and our futures that are at stake.

What makes it worse is that this is not just respect anymore, it has become worship. Politicians and actors are elevated to the level of saviours. We treat them as superhumans whose actions must always be justified. Take for example, outside our country leaders and stars eventually return to being ordinary citizens when their time in power or fame ends. Here even those who have never governed or had no good films hold assets and influence worth crores simply because we give it to them. We make them bigger than they are, and in doing so we make ourselves smaller.

Coming back to the Karur tragedy, the stampede has now been converted into a stage for politics. Politicians gained visibility, Actor gained sympathy, and the cycle continues. But the forty who died will not come back. Their families are left with grief, while the rest of us are left fighting over which hero should be celebrated. What intially looked like a human loss now has turned into a political game.

So the question is when will this cycle end?

When will citizens stop seeing politicians and celebrities as heroes and start seeing them as individuals who are accountable to us. When lives are lost or when an incident happens, it should never be about defending an actor, a politician, or a party. It should be about the people, the middle men or the so called citizens. But our obsession with idealizing those in power does the opposite. The families grieve in silence while the rest of us argue over whose hero should escape blame. Until that change happens the same pattern will repeat and the same tragedies will continue to be politicised. 

To be continued...

When Influencers Enter Classrooms

There has long been a tradition in schools and colleges of inviting a chief guest for ceremonies and functions. The purpose was never to entertain but to inspire the students. The stage was meant to be shared with people who had walked difficult paths, achieved something meaningful and could pass on lessons to young minds. Teachers, public servants, scientists, writers and government officials were often called upon. Though their speeches were not that entertaining, at least it had dignity. They did not mislead or discourage.

But over the years this culture has changed. Institutions have begun to invite celebrities, influencers, YouTubers and internet personalities. The choice of guest is rarely about the message they have. It is about who is trending, who is visible in the media and who can give the institution traction. The idea of inspiration has been replaced by the idea of popularity.

The issue is not about influencers as individuals but about what they bring into that space. When someone who rose to fame through curated content, trends or explicit material stands before a hall full of students, what is the message being delivered. The problem begins when they use this platform to glorify their journey without context. Statements like “education is not important, only skill matters” sound appealing, but they are damaging when delivered to impressionable young minds. Skill matters, of course, but skill without education rarely sustains. It is education that provides direction, discipline and the ability to use skill meaningfully. Taking away the value of education in a school auditorium weakens the very foundation of the institution itself.

We must also ask, what exactly have many of these influencers contributed to society. Are they freedom fighters, reformers, teachers or innovators. Have they built anything for the nation, or sacrificed anything for the community. Most have built careers out of entertaining people on a screen, which in itself is not wrong, but does that deserve a place on an academic stage. To narrate a personal success story is not the same as imparting wisdom, yet that is what many such appearances have become.

The danger lies in the reception. Adults may have the maturity to listen and filter ideas. Children and teenagers do not. At a stage where their identities and values are still forming, they absorb what they are told. If a figure who commands attention tells them education is secondary, that message does not leave the hall. It takes root. It becomes the lens through which they judge effort, education and ambition. A single misguided statement can undo years of patient teaching.

Some may argue that influencers already reach students through phones and the internet. So why does it matter if they are invited to schools. It matters because the institution legitimises them by placing them on that stage. What children may have otherwise consumed as entertainment now arrives packaged as authority. The school/college itself hands them credibility and with it comes the power to mislead.

Education is not just about going with trends. It is more about shaping future minds. Schools and colleges cannot afford to outsource inspiration to those who have nothing meaningful to offer.  Institutions hold an enormous responsibility. If they cannot find a guest who has genuinely contributed to the growth of society then it is better not to invite anyone. An empty stage speaks with more dignity than voices that distract.

Hridhayapoorvam Review

Hridhayapoorvam released in 2025 is directed by Sathyan Anthikad and features Mohanlal, Malavika Mohanan, Sangeeth prathap, Sangitha Madhavan and Siddique in the lead roles. The music is composed by Justin Prabhakar whose melodies and background score give the film a distinct emotional texture. The film is produced by Ashirvad Cinemas.

The plot is one of a kind. Simple yet unique, it has a gentle touch of comedy, emotion and many other shades of life. It is a light hearted film but at the same time deeply layered with moments that make you think. The story feels close to the heart as it captures ordinary life in a way that makes the ordinary look extraordinary.

The cast deserves credit for elevating this story. Mohanlal shines with his natural humour and effortless emotional depth. He plays the role with a grace that only years of experience can bring. Malavika Mohanan plays her part with conviction, adding freshness to the narrative. While Sangeeth and Siddique add charm and balance to the flow of the film. Each actor feels carefully placed and that gives the movie a natural rhythm.

Music by Justin Prabhakar takes the film to a whole new level. The background score captures every emotion beautifully and the songs feel like they are naturally put into the story rather than added on top of it. Watching the film with its music feels like listening to a tale.

Cinematography and screenplay together make the film even more striking. The frames are often saturated with colours but they do not look overdone. Instead they feel like the plot demands that vibrancy. The locations have been chosen thoughtfully and add to the warmth of the story. Screenplay keeps the flow intact and there is never a dull stretch. Comedy appears at the right time, emotions arrive naturally and the blend of everything keeps the audience hooked.

The Co writing and direction is where Sathyan Anthikad proves once again that art has no age. At over seventy he delivers a film that feels as fresh as ever. His years of experience can be seen in every frame. The dialogues feel natural, the humour never feels forced and the story flows as if it has a life of its own. Mohanlal’s humour becomes an added strength and the balance between depth and lightness is maintained till the end.

Overall Hridhayapoorvam is a film that touches the heart. It makes you laugh, it makes you think and it makes you feel the warmth of ordinary life. It is not a larger than life spectacle, but a film that sits next to you like a family member and makes you feel at home. It is a wonderful watch.

Rating: 8/10⭐️