July seems to be the month of women power in Kollywood. If it was Jyothika’s Raatchasi and Samantha’s Telugu film Oh! Baby that set the ball rolling last Friday, on July 19, Amala Paul’s Aadai is hitting the screens. And on the last Friday of July, Nayanthara’s long-delayed Kolaiyuthir Kaalam will hit the screens after clearing all legal issues pertaining to its title.
A lot is riding on Amala Paul’s Aadai, as the trailer which went viral has created a huge buzz around the film. All areas of the film have been sold out much before release at high prices, after a trade show which created a buzz around it. If Aadai, which has got an A certificate, becomes a hit, Amala and the rest of the team stand to make more money as they are working on profit-sharing basis. It augurs well for the industry as many heroines are now willing to work on profit sharing if the role is meaty and centred around them.
Amala believes that this is a great time for female actors in the industry, because of the substantial roles offered to them and the increasing exploration of women-centric movies. She believes that Aadai is “the most daring film she has done”. Aadai is so hot in the trade that theatres in Tamil Nadu are giving it prime shows and showcasing it in its opening weekend (July 19) at a time when it is clashing with Vikram’s action biggie Kadaram Kondan and Disney’s The Lion King.
A producer, on condition of anonymity, says, “To be honest, the lack of saleable Tier 2 and 3 heroes is one of the main reasons why there has been a proliferation of heroine-centric films. A female centric film can be shot on half the budget of a male hero’s and in less number of days and has a reasonable chance of recovering the investment from Tamil Nadu theatres alone. Take the case of Imaikkaa Nodigal, which was originally meant to be done by a top hero who could not adjust his dates. The film eventually ended up with Nayanthara, who took it up and the film went on to become a success.”
- Nayanthara’s Kolaiyuthir Kaalam
- Amala Paul’s Aadai
- Trisha’s Paramapadham Vilayattu
- Jyotika’s Jackpot
- Varalaxmi’s Velvet Nagaram
The buzz is that Jyothika’s recent Raatchasi, made on a low budget, is a profitable film for its producer SR Prabhu who sold television, digital and overseas rights much before the theatrical release. Over the next several months, a number of films with the female protagonist taking centrestage, will be released. That includes the remake of Queen in four languages (starring Kajal Aggarwal, Tamannaah, Parul Yadav and Manjima Mohan), Jyotika’s Jackpot , Trisha’s Paramapadham Vilayattu.
That’s not it. There’s more, as Varalaxmi Sarathkumar has her psychological thriller Velvet Nagaram, based on a true story, coming up for release. Another of her woman-centric films will be Danny , where she plays a cop along with a ‘wonder dog’. Aishwarya Rajesh has a strong role in her forthcoming Ka Pae Ranasingam in which Vijay Sethupathi will make an extended cameo. She also has female sports-based Suseenthiran-directed Magalir Ani , in the pipeline. Sunny Leone’s action solo heroine Veeramadevi will hit the screens later this year, while Amala Paul’s next release is the female-centric Adho Andha Paravai Pola.
These films have given a new lease of life to actors who were caught in a rut, especially Tamil-speaking girls who had to compete with North Indian talent. VJ Ramya Subramaniam who made an impact in Taapsee’s Game Over , has a big role in Amala Paul’s Aadai . She says, “My role as Jenny will have multiple shades and layers. I feel I’m lucky to be a part of this phase of Tamil cinema where script is the real hero. Women are slowly being seen beyond their age, marital status and these roles are helping me break stereotypical and enter into a new zone.”
Director Lakshmy Ramakrishnan feels that women are finally getting their due as the trade recognises the commercial potential of these stories. Her recent House Owner has come for praise for the writing of Radha, played by Sriranjani. “It is a reflection of how woman are in real life, which is often missing on the big screen. It is sad to note that audience have been used to watching and expecting stereotypical portrayals of women and when it is broken, it is a surprise, and worthy of praise... though it is as close to reality as possible!”
