The year 2024, which marks the 90th anniversary of Kannada cinema — popularly known as Sandalwood — could have been a momentous occasion in its history. With the collective effort of its representative bodies, the Karnataka Film Chamber of Commerce (KFCC) and the Karnataka Chalanachitra Academy (KCA), this milestone could have been celebrated with pride and grandeur. Instead, these organisations, which claim to represent the industry, failed to acknowledge the occasion, let alone commemorate it. Their indifference mirrors the dwindling fortunes of Kannada cinema, and the industry’s 2024 performance bears testimony to this decline.
In the past, the film bodies, particularly the KFCC, marked the 50th, 60th, and 75th anniversaries of Kannada cinema with grand events, publications highlighting its history and prominent personalities, and souvenirs to celebrate these occasions. This time, however, both the KFCC and KCA appear to be bogged down by internal challenges, failing to rise to the occasion. The release of Sati Sulochanathe first Kannada talkie, on March 3, 1934, is widely regarded as the starting point of Kannada cinema. However, considering the current crises, 2024 has turned out to be a bitter chapter for the Kannada film industry.
Success rate drops to 3 percent
The Kannada film industry, once a major contributor to South Indian cinema and a big player in the Indian box office, is experiencing a steep decline. According to the Confederation of Indian Industry (CII), the industry generated Rs 1,570 crore in 2022. However, its success rate nosedived from a peak of 8 percent in 2022 to a mere 2 percent in 2023. While there was a slight improvement in 2024, the success rate remained at a dismal 3 percent.
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Box office records reveal that of the 227 films released in 2024, only eight achieved commercial success. Industry sources estimate that Kannada cinema incurred losses amounting to Rs 520 crore during this calendar year. This downturn is not unique to Kannada cinema. “While occasional hits provide a temporary boost, the overall picture for Indian cinema in recent years is grim. The industry is struggling with declining box office revenues and new challenges posed by powerful streaming platforms,” observes K. V. Chandrashekar, a prominent exhibitor and former president of the KFCC.
The lack of rootedness
Kannada cinema producers and artists continue to persevere, releasing an average of four films each week. However, their efforts are increasingly met with dwindling theatre audiences, as viewers opt for the convenience and accessibility of OTT platforms over the traditional cinematic experience.
This is not the first time the Kannada film industry has faced such a crisis. Experts point to the inconsistent performance of Kannada cinema as a consequence of its lack of rootedness in local culture and ethos. They attribute the current crisis to these factors, combined with the absence of a well-defined and differentiated content strategy. Without addressing these underlying issues, the industry’s struggle for relevance and success is likely to persist.
Banking on star system
When comparing the films released in 2024 so far, there is a noticeable lack of productions with the ambition or potential to match the benchmark set by the top films of 2022 or even 2023’s highest-grossing film. Film experts point to the Kannada film industry’s over-reliance on star-studded projects, often marketed as “pan-Indian” films. This dependency underscores the limited pool of bankable stars in the industry, which includes Shivarajkumar, Yash, Sudeep, Darshan, and a few others such as Dhruva Sarja and Ninasam Satish.
Interestingly, the few successful films of 2024 have predominantly featured ‘star’ actors. Films starring Shivarajkumar, Duniya Vijay, Ganesh, Sri Murali, Vijay Raghavendra, Sharan, and Digant hit the screens this year, but only those led by Duniya Vijay, Ganesh, and Sri Murali managed to draw audiences to theatres. The failure of Martinstarring Dhruva Sarja, has further dampened industry hopes that high-budget, “pan-Indian” films alone can guarantee box office success. Martin reaffirmed that superficial gimmicks no longer resonate with audiences. The scarcity of new star-led films has also compelled exhibitors to re-release yesteryear blockbusters. Interestingly, these classic hits not only brought audiences back to theatres but also provided a financial lifeline, proving their enduring appeal both then and now.
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According to sources, these stars command 60% of the popularity share in the Kannada cinema market. However, the arrest of Darshan Thoogudeepa in connection with the alleged murder of his fan in June has negatively impacted the box office performance of Kannada cinema this year. Additionally, concerns regarding flagged health issues are likely to affect over 10 films currently in production and slated for release next year.
Compared to Kannada films, the Malayalam cinema market is less dependent on its top stars, who have established themselves as superstars for decades now, at 47 per cent share. Recently Shivarajkumar himself admitted to the media that “there are good efforts in 2024, but people should come and watch those films and spread the word. Audiences in other languages are appreciative of the new generation talent. The hero doesn’t matter to them, only the subject does. We need that trend here (Kannada) as well.” Are Kannada audiences listening?
Wrong calculations
The Kannada film industry failed in capitalising on the momentum provided by KGF and the Kantara franchises that presented the Kannada film industry in 2022 with a great opportunity to start a new wave of cinema that can compete with similar kinds of films in other film industries of South India. According to sources in KFCC, of the 227 films only eight films, including Bheema, Bagheera, Upadhyaksha, Ondu Sarala Prema Kathe, Blink, Moorane Krishnappa, Krishnam Pranaya Sakhi, Bhairathi Ranagal have succeeded in returning investment to the producers, and the rest of the 220 films disappointed the box office.
But as far as Bagheera’s success is concerned, there is a different argument. According to Saclink-All India Box Office Collection News, the box office collection of Bagheera (from both Kannada and Telugu versions) is approximately Rs 19.30 crore. Approximate investment in the film is claimed to be Rs 20 crore. After deducting theatre rent and other expenses, producers will get a share of Rs 10 crore, including rights sold to streaming platforms. “How can you consider the film successful at the box office?” asks a senior film analyst. Similar is his argument on the success of Blink, which saw 50 days in theatres.
Meanwhile, the Kannada film industry lost several talented cine personalities, who contributed their might to Kannada cinema in the past 50 years. Actor K Shivaramu, director, producer actor Dwarakish, actresses Pavithra Jayaram, Aparna, directors including Deepak Urs, Guruprasad, Shobitha Shivanna, actor T. Thimmiah, filmmaker Chi. Datturaj bid adieu to this mortal world this year.
One hopes that 2025 gives the Kannada film industry the dream of producing films with their rootedness and originality and change the fate of Kannada cinema. UI, directed by celebrated filmmaker Upendra, which released on December 20, claims to have received good response from audiences. Kichcha Sudeep-starrer Max — an action thriller directed by Vijay Karthikeya ٕ— is set to hit the screen on December 25. The Kannada film industry is keeping its fingers crossed over the success of these two star-studded blockbusters. It is believed that both UI and Max will prove to be the game-changers of Kannada cinema in 2025.
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