The Dileep school of filmmaking was once the ‘success’ formula for Malayalam cinema. During a time when political correctness wasn’t a major concern, their films achieved great success and maintained consistent hit status. Malayalam cinema largely relied on this type of formulaic filmmaking.
Experiments and new narrative environments were rare in the mainstream. The audience had to be satisfied with this limited fare. However, the audience evolved alongside Malayalam cinema, which began to criticize political correctness. The Dileep school, which continued to make films based on their outdated formula, started to crumble during this phase.
Actors who engaged in misogynistic, body-shaming, and double-meaning dialogues faced backlash from the audience and were gradually sidelined. The number of such films decreased over time, and the remaining ones faced box office disasters. It’s a fact that Dileep’s downfall coincided with the rise of Malayalam cinema’s new wave. A section of once-hit Malayalam directors also disappeared from the scene during this phase.
The truth is that the failure of movies is not solely because of the rape case allegation against the actor. The crime committed by Dileep did cause significant disapproval among the audience. He had to face a decline from his previous position as a superstar in Malayalam cinema. However, someone who is not part of good cinema has not been successful in recent Malayalam films. Audiences only come to theaters for movies that don’t ridicule their time and money. Recent statistics provide proof for this.
Meanwhile, Dileep is unable to make movies outside his comfort zone. The new generation of filmmakers does not need Dileep either. Therefore, a ‘re-introduction’ for Dileep is not possible. Even if he tries to change the content, Dileep won’t move away from his inherent style.
We can see Dileep sticking to his old ways even in movies like ‘Bandra’ and ‘Thanga Mani. Audiences will hastily run away from such films. This is what has been happening for the past few years. He tried to attract a ‘safe’ audience of children and families. But all of those films flopped. Lack of quality is a bigger reason than lack of novelty.
The success of Girish A. D. films like Thanner Mathan Dinanagal and Premalu lies in craft, not novelty. Dileep’s style of filmmaking is outdated, lacking both freshness and quality.The audience ensures it gets the deserved failure.
Even director B Unnikrishnan, who cast Dileep in his movie out of his belief that someone shouldn’t lose their job just because their facing a legal case, cannot save him. A person who has lost their standing in the industry will continue to lose it further. It is certain that PR work and fake reviews cannot save anyone.Even after getting three consecutive holidays, Pavi Caretaker only collected a total of Rs 3.5 crores. Avesham collected Rs 4.16 crores on just the 18th day. Dileep has been rejected by the industry due to the quality of his movies, not just because of his criminal activities.
Another Malayalam movie starring Bhavana is on the horizon, and look at the reception it’s getting before the release! Meanwhile, Dileep, on the other hand, is resorting to fake allegations and tearful pleas to promote his movie. Despite extensive PR efforts and paid interviews, Dileep has been rejected by the Malayalam audience. Social media is flooded with comments and posts portraying Dileep as a victim, but the empty theater seats speak volumes. This is a time that reminds us that time won’t just pass by without responding to everything.
‘ I have contributed a lot to Malyalam cinema. I have made you laugh so much, but I am crying now.’ Dileep pleads with the audience to watch his movie, which he resorted to producing himself. Dileep, who is trying to survive by distributing that film with his organisation , is the Dileep that Malayali asserts has no place in Malayalam cinema and society.
In contrast, Bhavana’s smile lights up the video feeds today. She is filled with joy and laughter. The contrast between a weeping Dileep and a smiling Bhavana is a powerful political statement. Bhavana once declared in an event, “This fight is not just for me, but for all the women who will come after me.” The bravery of that fight is evident in the Bhavana we see today.
Translated by Midhaa Tahani M
CONTENT HIGHLIGHTS: Reintroducing Dileep: An Impossible Task