Why critical acclaim alone does not pay in Kollywood

Earlier, films like Mullum Malarum, Azhagi, Sethu and Autograph, though had poor opening, had picked up dramatically, after critical acclaim and ran for over 100 days. 

It is not the case with Hindi films, where even critically acclaimed films bring in excellent box office revenues. Recent examples being Dangal, Airlift, Fan, Dear Zinda gi, MS Dhoni, Sultan, Pink, Udta Punjab, Neerja, Kapoor & Sons, Jolly LLB2, Kaabil, Naam Shaba na, Hindi Medium and many more. All these films earned over Rs 50  crore, though many were made on a small budget. 

Similarly, in Malayalam, critically acclaimed films are posting profits. Recent examples are Ma heshinte Prathikaram, Kammatti Paadam, Kali, Kismath, Anuraga Karikkin Vellam, Ozhivudivasathe Kali, Oppam, Jacobinte Swargara jyam, Aanandam, Angamaly Dia ries and many more. 

Even Kannada and Telugu film industry audiences ensure critically acclaimed films earn big money. However, one cannot say the same about Tamil cinema. Critically acclaimed films like Kuttram Ka dithal, Thanga Meengal, Visara nai, Zero, Metro, Oru Naal Koothu, Iraivi, Joker, Kuttrame Thandanai, Athey Kangal, Maaveeran Kittu, Maanagaram, Nisaptham, Ilai, Attu, Lens, 8 Thottakkal, Oru Ki dayin Karunai Manu and few more did not earn what they deserved. A few did not recover even their print and publicity cost through theatrical distribution and many recovered only their investment. Only a handful earned a little and none can  be called commercial blockbusters. What is ailing Tamil cinema, that we are seeing such poor revenues for critically acclaimed films? 

Hindi cinema earns 75 per cent to 80 per cent of collections through multiplexes and multiplex audience encourage different attempts. Tamil cinema depends 85 to 90 percent on single screens, with high seating capacity. New concept films cannot get houseful shows in single screens, which result in limited screening for a week and struggle to sustain beyond that. 

Hindi film industry has flexi-ticket pricing, whereby concept based films are  charged less. This encourages audience to support such films. Unfortunately, the ticket pricing is same for both commercial and small budget, concept films in Tamil cinema. Hence, audiences are choosy about watching such films in theatres.

Kollywood is severely affected by online, cable and physical piracy. A highly appreciated film is available immediately on its release through piracy. Most audiences prefer watching through cheaper alternative modes, affecting box office revenues. 

Too many options for entertainment along with too many films releasing: There is too much clutter in Kollywood today. By June end, over 100 new films would have released; about 17 films a month or four films a week, way too high for audience to patronise. Additionally, other entertainment options available to audience make acclaimed films suffer. 

Cost of promotion: Like ticket price issues, promotion cost is another barrier, as it is the same for both critically appreciated films and masala movies. There is no promotional support coming at lower cost for appreciated films. As most producers of such films cannot afford this cost, these films lose out, without getting rightful attention.

Kollywood audience look largely for entertainment as the driving factor to visit theatres. Hence, usual commercial films, horror comedies, action films succeed largely at the box office. Being used to such films, many are not prepared to view in theatres, niche, concept films; instead watch they them either through piracy or when telecast on satellite television channels. 

To increase the audience for these films, the number of multiplex screens must increase and flexi-ticket pricing must be brought in and number of releases per week must be limited to three to get audience attention. 

Unless these developments take place, this situation will persist in Kollywood and producers may be forced to make usual commercial entertainers to safeguard their investment.