On a Saturday morning at a multiplex in Hyderabad, a group of Telugu-speaking film goers check with the usher if Aavesham, the Malayalam film starring Fahadh Faasil, is being screened with English subtitles. Inside the hall, the banter among the audience is in both Malayalam and Telugu. Language barriers are broken when the title card reads ‘Re-introducing Fahadh Faasil’. Collective cheering takes over.
Director Jitu Madhavan’s gangster spoof comedy Aavesham and director Vineeth Sreenivasan’s Varshangallku Shesham, which was also released last week, are the latest in the line of Malayalam films that have sparked curiosity among Telugu film buffs.
Malayalam cinema has been in focus in recent months, with at least one film generating interest every fortnight, if not week. Premalu and Manjummel Boys, which became blockbusters in both Malayalam and Telugu-dubbed versions, are the icing on the cake.
Manjummel Boys, a survival drama by director Chidamabaram, has reportedly collected more than ₹225 crore worldwide. Its Telugu version, presented by Mythri Movie Makers, is said to have earned more than ₹10 crore since its release on April 5 and is still running in theatres. Director Girish AD’s romantic comedy Premalu, in its Telugu interpretation and presented by SS Karthikeya, has raked in nearly ₹17 crore.
Earlier, Sithara Entertainments had released the Telugu version of Mammootty starrer Bramayugam, and Mythri Movie Makers had backed Aadujeevitham, a film by director Blessy starring Prithviraj Sukumaran.
The reasons for the spurt in audience interest in Malayalam cinema, and the initiative of leading Telugu film production houses to release the dubbed versions are multifaceted. During the pandemic, Telugu film audiences had already begun to warm up to films in other languages. This year, Malayalam cinema has consistently delivered hits across various genres while Telugu cinema has encountered a slump, with only sporadic massive hits like Hanu-Man and Tillu Square.
It is worth noting that not all recent Malayalam films have seized the spotlight in the Telugu States. Films like the gender-sensitive narrative Aattam, and the intense crime dramas Abraham Ozler and Anweshippin Kandethum, found a more significant audience in the digital realm, weeks after their showcase at the cinemas. Malaikottai Vaaliban, a highly anticipated film by director Lijo Jose Pellissery starring Mohanlal, did not meet expectations at the box office. Nevertheless, these films sparked considerable discussion among movie enthusiasts.
The trend shifted positively with films like Premalu drawing the audience’s attention with its story of romance intermingled with friendship set against the backdrop of young Malayalis moving to Hyderabad for work. The romantic comedy carved a niche as it portrayed the city of Hyderabad in its true vibrancy – from the IT corridor of Gachibowli to the scenic Tank Bund and the bustling Prasads multiplex. Hyderabad represented an aspirational city for the film’s protagonists in a way reminiscent of Bengaluru in Anjali Menon’s Bangalore Days, which was released a decade earlier.
One unique aspect of Premalu was the depiction of authentically vibrant street scenes and conversations in real locations across Hyderabad, a feature missing in many recent Telugu films. The plausible reasons range from difficulties in permissions, substantial filming costs, and crowd control challenges, particularly when shooting with well-known actors. Girish and his team, however, enjoyed the leverage of working with budding Malayali actors unknown in Hyderabad, thus managing to film discreetly with a compact crew.
The Telugu adaptation of Premalu vanquished any doubts about the potential loss of the film’s charm due to the shift in language. Smart work by SS Karthikeya, who acquired the dubbing rights and drove the film’s distribution in Telugu, alongside Aditya Hasan who handled the dialogue translation, retained the essence of the story. For Karthikeya, the allure of Premalu lay in its endearing narrative and the Hyderabad setting replete with a feel-good ambiance and a touch of humor.
The dialogues in the Telugu version held a local flavor with lines that resonated with audiences, including the well-known food entrepreneur ‘Kumari aunty’ and references from popular films like RRR, with the phrases ingeniously integrated to fit perfectly.
Following the success of Premalu, Manjummel Boys also received a warm reception in Telugu. Before its Telugu release, the film had already gained a strong following in Kerala and Tamil Nadu. Based on the harrowing real event of a Kochi friend group caught in a perilous situation at the foreboding Devil’s Kitchen in Kodaikanal, the film’s nod to the classic Gunaa through music lent a nostalgic charm and set the stage for its Telugu rendition.
Speaking to the press in Hyderabad, director Chidambaram acknowledged the benefits of having the established Mythri Movie Makers distribute the Telugu version, given their reputation in Kerala post the success of Pushpa – the Rise.
Previously, it was common to see Tamil movies, and sometimes Hindi films, doing well in their Telugu-dubbed versions. Some Kannada films like KGF, Kantara, and Sapta Saagaradaache Ello also made a mark in their original and dubbed forms. This year, however, it is Malayalam cinema’s moment in the spotlight. Karthikeya encapsulated the sentiment by suggesting that regardless of language, films that bring something intriguing to the table will always find their audience. The welcoming nature of Telugu viewers towards quality films is now further evidenced by their enthusiastic embrace of Malayalam stories.
