From 'Pasamalar' to 'Namma Veetu Pillai': The big fat family drama in Tamil cinema

TNM spoke to veteran directors Vikraman and Visu, distributor Tiruppur Subramaniam and film critic Sudhir Srinivasan to understand why the genre has always been popular with the audience.
From 'Pasamalar' to 'Namma Veetu Pillai': The big fat family drama in Tamil cinema
From 'Pasamalar' to 'Namma Veetu Pillai': The big fat family drama in Tamil cinema
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A generation of misunderstanding between father and son ends when the grandson is unknowingly introduced to the grandfather. A brother-sister bond is threatened by marriage and it takes years for the brothers-in-law to get along. The hero, a farmer, is the prized prince in the family and therefore the entire family has a say on whom he gets to marry. These are the storylines of some of the Tamil blockbuster family dramas like Suryavamsam (1997), Kizhakku Cheemayile (1993) and Kadaikutty Singam (2018).

When Kadaikutty Singam released in 2018, the film proved just how popular a family entertainer can be even in the 21st century. Made on a budget of Rs 25 crore, Kadaikutty went on to gross Rs 70 crore worldwide, becoming one among the few blockbusters that year. Now, Sivakarthikeyan’s Namma Veettu Pillai (also by Kadaikutty’s director Pandiraj) has released to positive response from audience and critics alike.

The popularity of family dramas in Tamil cinema is indisputable. Of the four Tamil films that won the National Award for ‘Best Popular Film Providing Wholesome Entertainment’ - Samsaram Adhu Minsaram (1986), Vaanathaipola (2000), Autograph (2004) and Azhagarsamiyin Kuthirai (2011) - three of them belong to the good ‘ol family drama genre.

Box-office gold

Director Vikraman whose family dramas have been blockbusters, says, “Poove Unakkaga (1996), Suryavamsam, Unnidathil Ennai Koduthen (1998), Vaanathaippola (2000), Vasantham (2003, Telugu remake of Unnai Ninaithu) were all golden jubilee films, running for 250 days in theatres. Unnai Ninaithu (2002) was silver jubilee. Suryavamsam, in fact, saw record-breaking collections. When Suryavamsam released, it was the first film to run for 100 days in centres like Nagari (Madurai), Madurantakam, Tenkasi, etc. These were centres in which a film was considered a hit if it ran for 10-20 days,” he shares.

A recent example of family dramas doing well in the box-office is Ajith’s Viswasam (2019) that released for Pongal this year, clashing with Rajinikanth’s Petta (2019). Even while the makers did not put out any official numbers regarding box-office collections, reports were that Viswasam had grossed slightly higher over Petta in Tamil Nadu. And the film’s genre could very well be a reason for its success.

Film distributor Tiruppur Subramanian says, “Kadaikutty Singam became a mega hit. I could say it was the best collection of all Karthi’s films. Ajith’s Viswasam is based on daughter sentiment and ran very well, better than his action films.”

Viswasam, starring Ajith was directed by Siva who had previously collaborated with the star thrice - Veeram, Vedalam and Vivegam. Their fourth was a rural entertainer and revolved around the love between a father and his daughter.

Subramaniam adds that family dramas are more than just box office successes, becoming immortal films. “I am 67 years old and I still like to watch Mudhal Mariyathai (1985). Films like Pasamalar (1961), Mullum Malarum (1978), Poove Unakkaga can be watched any number of times. These kind of films are immortal (Kaalathal azhiyadhavai),” he says with a smile.

Vikraman says that even now, 22 years since Suryavamsam released, those from the third generation watch the film and tell him how much they enjoyed it.

Winning over the women

Tiruppur Subramanian says that traditionally, such films have always pulled the crowds. “First we had historical films. Then during 1950-60s we saw films like Nadodi Mannan, Manohara (1954) which were historical fictions but essentially family dramas. Then after ‘60s, films like Pasamalar, Paalum Pazhamum (1961) proved the popularity of family dramas. Both MGR and Sivaji did family oriented films and such films always brought in the crowd.”

Pasamalar that came out in 1961 can be called the earliest family drama that delved on the brother-sister bonding. Played by Sivaji Ganesan and Savithri, the film was a blockbuster, running for over 26 weeks!

He further elaborates, “When women come in to watch, their husbands accompany them and their children also come along. They might recommend the film to their women friends and neighbours who will then take their entire family along. This is the formula that works for family drama.”

Theatre owner Abirami Ramanathan concurs: “Family drama is not hero films. Take, for instance, Visu’s Samsaram Adhu Minsaram which is based on real life. People like to watch such films because they can relate to it. Provided that the films are not boring or preachy, it will always work. It is an age-old and time-tested formula. Audience will not always be interested in hero-heroine stories.”

Sudhir Srinivasan, editor of Cinema Express, too reasons that the popularity is mainly because the genre cuts across all age groups. “I can see why it's tempting to think that family drama genre brings in more people. It cuts across age-groups. Romcom, horror, action, thriller... these are all genres that appeal to certain people, but all of us are united in our love for our families. When a film taps into familial sentiment and/or has content that is appropriate for children and adults alike, I can see why it can help bring in more people.”

The influence of TV serials

Remarking about the lack of well-made family dramas in the industry right now, actor/director Visu who directed films like Samsaram Adhu Minsaram, Thirumathi Oru Vegumathi (1987) and Penmani Aval Kanmani (1988) says, “Less than 5% of films made today are family dramas and these too are made for 15-30 year olds. Those above and below these ages are not represented in such films. Family has so many members - grandfather, grandmother, father, mother, aunts, uncles - but today, the society is smaller, films are also smaller.”

But, the director says, there’s always a good market for family drama: “Family dramas have reduced and TV serials are making it sound terrible. But if good family subjects are taken today, they will surely run.”

Vikraman too expresses the same opinion. “Until 2005, I think the family drama subject was capable of becoming superhits. But ever since TV serials started being made on the same subject, people do not want to watch it in the theatres. Rarely, one or two films become successful like Karthi’s Kadaikutty Singam and now Sivakarthikeyan’s Namma Veettu Pillai. Even then, such family dramas require big stars to do well. Namma Veetu Pillai, for instance, is produced by a huge banner, has a mass hero and a big director.”

However, Sudhir is hopeful that with the kind of films being made today, chances of a well-made family drama hitting the right notes with the audience are quite high. “These days especially, given the deluge of horror comedies and adult comedies, I've heard complaints from people that it's become harder to watch films as a family. Given that there aren't a whole lot of them being made, when a star vehicle strays away from strictly being in action territory and is something like a Viswasam, it becomes a rare opportunity for everyone to get together and make an evening of it.”

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