Telugu cinema 2024 half-yearly report: Where the underdogs rose to the occasion (2024)

Nagarjuna’s terrific track record during Sankranthi continued with a well-timed, Naa Saami Ranga, (remake of the 2019 Malayalam film, Porinju Mariam Jose), which kickstarted choreographer Vijay Binni’s career, as a director, on an optimistic note. Saindhav was a weak film, yes, but its release timing was equally dubious.

Ravi Teja’s script selection woes came to the fore, yet again, with the February release, Eagle (directed by Karthik Gattamneni), an uninspiring take on the gun culture, which neither had style nor substance. Despite unflattering reviews, Sundeep Kishan-director Vi Anand’s second collaboration, Ooru Peru Bhairavakona, a supernatural thriller, performed beyond expectations, with Sid Sriram’s number, “Nijame Ne Chebutunna”, contributing to its popularity.

The critical acclaim for Suhas-starrer, Ambajipeta Marriage Band, a commendable take on caste/class pride, couldn’t translate into box office revenue. Varun Tej’s Telugu-Hindi bilingual, Operation Valentine, based on the Balakot airstrikes, tanked in both markets. Two biopics on YS Jagan-Mahi V Raghav’s Yatra 2 (despite Jiiva’s worthy performance) and Ram Gopal Varma’s Vyooham, met with a similar fate.

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Tillu Square, the winner

The theatrical success of the indie mystical adventure Gaami, bringing together Vishwak Sen, Chandini Chowdary, and first-time director, Vidyadhar Kagita, proved to be a ray of hope, indicating the readiness of audiences to look beyond stars and familiar genres. The fact it towered over Gopichand starrer Bhimaa, a standard masala potboiler, (Gaami and Bhimaa released on 8 March) asserted this belief. Another pleasant surprise that raked in the moolah was Om Bheem Bush—marking the reunion of the Brochevarevarura (2019) trio—Priyadarshi, Sree Vishnu, and Rahul Ramakrishna—a smartly packaged, progressive horror comedy, bolstered by Harsha Konuganti’s irreverent writing. Tillu Square, the much-hyped sequel to DJ Tillu (2022), starring Siddu Jonnalagadda and Anupama Parameswaran, lived up to expectations, entering the ₹100-crore club.

Soaring temperatures, increased focus on IPL, and the election season in the Telugu states meant that most production houses went back to their big-ticket releases. A major disappointment in this Ugadi was the subpar performance of Vijay Deverakonda, Mrunal Thakur-headlined Family Star (helmed by Parasuram Petla), a feeble plot with an unimaginative narration. Anjali’s return to the horror-comedy genre with Geethanjali Malli Vachindi wasn’t received with warmth.

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Below-average first half

Telugu cinema suffered the most this May. Allari Naresh’s return to his forte—comedy—with Aa Okkati Adakku, misfired. Rowdy Boys (2022)-fame Ashish’s horror tale, Love Me, made a mess of a decent premise. Nara Rohith’s Pratinidhi 2 couldn’t rise above its propagandist leanings. The dry spell was only broken by the road thriller, Bhaje Vaayu Vegam (Kartikeya Gummakonda); thanks to its sharp screenplay (more so in the second hour).

Gam Gam Ganesha’s crime comedy wasn’t quite the blast, it promised to be and Vishwak Sen’s widely-publicised gangster drama, Gangs of Godavari, didn’t make any noise at the box office. The void of a clean, family-friendly film, was rightly filled by Manamey. Sharwanand and Krithi Shetty star in a refreshing, mature romantic comedy about unexpected parenthood. Sriram Adittya, once again, demonstrates his prowess as a talented storyteller.

Navdeep’s Love Mouli didn’t quite succeed in translating a deep-yet-abstract idea into a fully convincing film, whereas Kajal Aggarwal’s first outing as a cop in Telugu, Satyabhama, was undone by a needlessly convoluted screenplay.

Harom Hara, Sudheer Babu’s action drama revolving around a gunsmith in Kuppam, was heavily inspired by the likes of Pushpa: The Rise (2021), the KGF franchise (2018, 2022), and Vikram (2022). While it was stylishly mounted on a lavish canvas, the superficial writing turned out to be its curse.

After a long gap, a popular actress—Chandini Chowdary—had two solo releases (where she was the mainstay) on the same day with Yevam and Music Shop Murthy. The latter, centering on an elderly man’s turn as a DJ with the help of a supportive daughter, earned plaudits from critics.

Varun Sandesh broke free from his lover-boy image with a measured performance in the crime thriller, Nindha. Anup Rubens’ turn as a producer with O Manchi Ghost wasn’t quite fruitful.

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Beyond language barriers

Several dubbed films left their imprint at the theatres in the first half of the year. Premalu, Manjummel Boys, and The Goat Lifeput up a strong show, strengthening the foothold of Malayalam cinema in the Telugu market.

Sundar C’s Baak (Aranmanai 4) and Vijay Sethupathi’s 50th film, Maharaja, turned out to be money spinners, offering a novel twist to familiar stories.

Apart from Gaami;multiple indie films, Double Engine (the directorial debut of Youtubers Rohit and Camp Sasi), and the innovative sci-fi saga, Arambham, offered much-needed relief from the cacophony of mainstream cinema.

A handful of small-budget films—Masthu Shades Unnai Ra, Sundaram Master, Chari 111, Prasanna Vadanam, and Bhoothaddam Bhaskar Narayana—clicked with streaming enthusiasts more than theatre-going audiences.

Theatres bank on re-releases

Scores of popular Telugu films were re-released in Andhra Pradesh and Telangana providing a temporary relief for theatre owners.

Samarasimha Reddy (1999), Happy Days (2007), Oy! (2009), Ee Rojullo (2012), Thammudu (1999), Nuvvu Nenu (2001), Naayak (2013), Sita Ramam (2022), Tholi Prema (1998), Baby (2023), Aparichitudu (2005) did their bit in wooing crowds to the big screen. Oy! lead the pack, amassing over ₹1.5 crore on the very first day.

If there was one crucial change in Telugu cinema, that’s also likely to alter the fate of many films in the second half of the year, it’s the decline of the non-theatrical market.

Lessons and takeaways

Satellite and OTT deals were no longer lucrative enough for a producer(s) to earn back their investments, even if the films had popular faces. It’s also high time that the industry took the call to extend the window between the theatrical releases and the OTT premieres, to ensure better footfalls.

In contrast to previous years when Telugu producers eagerly released their films across multiple markets, the industry has now exercised caution with ‘pan-Indian’ branding. They are gradually returning to basics, focusing on catering to local audience tastes.

The fate of Guntur Kaaram, Saindhav, Eagle, and Family Star, should serve as a reminder for the stars that one can’t take viewers for granted. Making up for the dull first half, there are quite a lot of exciting films in store for the latter part of 2024.

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High hopes on Kalki 2898 AD, Game Changer, Lucky Baskhar, Pushpa 2

All eyes are, undoubtedly, on the dystopian sci-fi tale, Kalki 2898 AD (starring Prabhas, Amitabh Bachchan, Kamal Haasan, and Deepika Padukone) to deliver the goods. There’s enough reason to be excited about Double iSmart, Saripodha Sanivaaram, Mr Bachchan, Lucky Baskhar, Thandel, and Robinhood, as well.

There’s big money riding on the high-profile releases—Jr NTR’s Devara, director Shankar-Ram Charan’s Game Changer, and Pushpa: The Rule—that should go a long way in reviving the theatrical business of Telugu cinema.

Initially, three Pawan Kalyan films were set for release in 2024, but only OG is likely to meet its deadline (despite the shoot still being incomplete). This is ahead of Ustaad Bhagat Singh and the two-part period drama, Hari Hara Veera Mallu.

If there were a remarks section in Telugu cinema’s report card for the first half of 2024, it would have read ‘can do better’.

(Edited by S Subhakeerthana)

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