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The year 2024 began for Tamizh industry with 2 big films release on Pongal. The first one was Dhanush’s Captain Miller and the other was Sivakarthikeyan’s Ayalaan. Both films even though collecting decently at the box office did not impress the critics that much. Following that Tamizh cinema did go through a drought in terms of content and success at the box office. All was not lost though as at the same time we did have movies like Lover and Garudan which were very good.
During that time the Tamizh YouTube content creators had a field day criticising the content and the industry. The one thing they realised as well was that criticising their industry actually got them new fans and subscribers. The constant videos putting down the industry and it’s content and appreciating other industries actually created a new fan base for these creators. The success of Malayalam cinema at the start of the year fueled this change among these creators. We all know how passionate Malayalam cinema fan base is and the Tamizh YouTube content creators took full advantage of that. The fact which was completely ignored during this time was that Tamizh cinema had a great 2023. Even at the end of the year a movie like Parking released to huge critical acclaim but these videos made everyone believe that the industry has been struggling for years.
The same people who posted a video a week to appreciate and promote other industries disappear completely when a good Tamizh cinema releases. This has been a trend and not something new to 2024. Even in the past few years when a good Tamizh content releases these so called experts disappear except for the movie review. There will be no follow up, no appreciation videos etc will be seen from these creators. The second half of the year has been brilliant so far from Tamizh cinema. Starting from the successful Maharaja films like Lubber Pandu, Kottukkali, Meiazhagan, Amaran, Thangalaan, Raayan, Vaazhai etc became critically acclaimed films.
Despite producing such widely accepted content in the second half the narrative of Tamizh cinema struggling is being propagated by these so called experts. Who are these YouTube experts? What is their credentials? Why do we give so much importance to their opinion? These are some questions the audience of these channels need to ask. Anyone who is reporting on something need to have some sort of journalistic ethics. Obviously none of these people have studied journalism have no clue what that means. The major cornerstone of journalism is integrity which many of these people lack. The other most important ethics of journalism is accountability, trust and truthfulness. When we look at these content being posted these days it is just done for the sake of increasing the subscribers count.
If any of these creators had integrity they would have at least posted some appreciation videos later in the year when Tamizh cinema produced some good content. The fact that there are more videos criticising and trolling Kanguva than appreciating a film like Meiazhagan shows the shallowness of these creators. The amount of appreciation videos we see of Meiazhagan, Vaazhai, Lubber Pandu etc from other language creators show how selfish and horrible Tamizh content creators are.
I am not saying don’t appreciate other language films, actually I am saying the opposite. Appreciate good content irrespective of the language and have some integrity when posting content. I agree it takes lots of effort to produce a video, edit it and publish the same and they obviously need subscribers to run a channel but what they are doing right now is unethical. Criticism is important for any industry and if you see content creators from other South Indian languages are harsh on poor content from their industry but none of them go to the extend Tamizh creators go. They don’t put down their industry to appreciate other regions to the level our creators do. Why is that I ask? Is it because we are so insecure that we are afraid of appreciating our industry? Is it because we think if Tamizh cinema is appreciated their subscribers will leave them? I am not completely sure but this needs to stop.
People who are jumping on such creators bandwagon are also to blame including other language fans who actually think these people mean what they post. The fans and creators from other South Indian industries are way ahead of the so called experts from Tamizh. They not only appreciate other industry content but also post a balanced view of their own industry. When Malayalam cinema was doing so well earlier this year we did not see a Telugu YouTuber posting a video attacking their industry nor did we see Kannada content creators doing the same. So why are we doing this is a question we viewers need to ask as well. I don’t mind criticism as not everyone has to like a film. There are a lot of them who did not like Meiazhagan as well which is fine as it is their prerogative but their needs to be some kind of fairness in the content they post on their channels. When you troll or post negative reviews of a film, appreciate good content as well. Don’t just post videos to appease fans from other industries for the sake of subscribers, it just looks bad.
I am not saying everyone is bad, there are a few good ones here and there but again when you have so many poor ones good ones are hard to find. While social media has made it easier for a common man to dabble with journalism the ethics of such a role should still remain valid. While proper journalist and reviewers will refrain from trolling or posting polarising content just to increase subscribers these self proclaimed experts do it only for subscribers. I am a fan of Indian cinema and watch content from all languages if the content interests me. Never have I appreciated an industry just to put down the other, even when talking with my friends. Good content comes from all industries and so do the bad ones. At the end of the year every industry at the maximum will have only 10-15 films which remain in our minds. Even Malayalam industry known for its content cannot buck that trend. No one can say an industry produced 50 great films a year, that is not possible. The fact everyone knows and still we promote and support such creators who make us believe otherwise.
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Two years ago I wrote an article about how Tamizh cinema is failing the Pan-India test and how their lack of promotions causes lack of visibility of their content. The want to have a largely successful Pan-India film also has compromised quality of the well known Tamizh masala films. Tamizh cinema is not alien to Pan-Indian success. The current YouTube generation do not realise how big of a hit movies like Roja and Bombay were. These were the days before people only cared about content and did not care about how much money the movies made.
There were also Shankar’s movies like Indian (Hindustani), Enthiran and 2.0 which were pan-India success stories. So in a way Tamizh cinema was the pioneer in Pan-Indian films. Not only movies Tamizh cinema also produced first pan-Indian stars. So this is not something Tamizh cinema should be concerned about as they have nothing to prove. Tamizh cinema was never known for high budget extravaganzas like how Telugu cinema always did. Yeah Tamizh industry made mindless action films as well but again those were rarely successful. The only kind of films which actually were successful were movies with decent story line or movies with some message like the ones S Shankar made.
Now with the pressure of making films which breaks the 1000 cr barrier, Tamizh cinema has forgotten what made them tick over the years. Nothing against movies like Kanguva which is a great attempt but again the want to make a highly successful film the industry is trying to manufacture films which is never going to work. To be frank except for Telugu cinema none of the other industries are able to make movies which continuously match their own success. Kannada industry which put itself on the map with KGF 1 & 2 could not make another film with the same success. I wouldn’t include Kantara with KGF as they are not the same kind of films.
If what we have seen over the past 2 years is any indication Tamizh cinema is more comfortable in generating good content without having to try too hard to impress the wide audience. The movies which were made for local audience without the intention of going pan-India are the movies which actually went across borders and was liked by everyone. This exactly has been the template of Malayalam cinema as well. They have been concentrating on good content and while they might have not made a 1000 cr film, they don’t seem to care about the same.
What Tamizh cinema has shown over the past 2 years is the same. The industry is more comfortable creating good content and not very adept in creating this big scale put together films which other industries are more capable of. Even the big star masala films which have been successful over the past couple of years have been different content with good film making. The only star who has been successful despite questionable content has been Thalapathy Vijay but that cannot be taken as the norm. Even Vijay has collaborated with good directors and has produced movies like Thuppaki, Kaththi and Leo over the last decade. Vijay has a huge fan base which makes his films kind of “content proof” if you want to call it that.
This year we have had brilliant films come out of Tamizh cinema and has been loved by everyone irrespective of the language they speak but again none of these films were large scale films. I am not saying the industry should not try to make films for box office success but again when Manirathnam or Shankar made those films in the 90’s they did not think that they are making a pan-Indian film. They made the films for Tamizh audience but the content took the films across India. The want to manufacture a film to appeal to larger audience will never work. The reason Telugu cinema is successful is because, that has been their strength over the years.
It is okay to be known as the industry which creates good content like Malayalam cinema rather than going for glory with half baked content in the name of pan-India. The success of movies of Meiazhagan, Vaazhai, Lubber Pandu, Maharaja, Amaran etc should tell the film makers as to what kind of films the audience is expecting. Tamizh cinema has always been experimental but again it has always been with a good story and film making. I hope we go back to the roots and make the kind of films we are known for and if that becomes pan-India success then that should be a bonus.
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Whenever India’s famous victory at the Gabba in 2021 is discussed, the spotlight inevitably falls on Rishabh Pant’s match-winning heroics. Yet one of the most significant contributors to that triumph was Washington Sundar, a player whose very presence in the playing XI had been born out of necessity rather than planning.
When Sundar boarded the flight to Australia, he was little more than a backup option. India already had Ravichandran Ashwin, who was arguably outbowling Nathan Lyon in the series, and few would have imagined Sundar making his Test debut at the Gabba. But injuries had severely depleted India’s resources by the time the fourth Test came around, and when Ashwin was ruled out, Sundar found himself thrust into one of the most memorable Tests in Indian cricket history.
It was a surprise selection in more ways than one. Sundar had hardly played any first-class cricket in the years leading up to his debut, and questions remained about whether his off-spin was good enough for the demands of Test cricket. India viewed him largely as a like-for-like replacement for Ashwin, a player capable of contributing with both bat and ball.
Thrown into the deep end, Sundar responded admirably.
Bowling on a Gabba surface that offered little assistance to spin, he delivered a disciplined spell to claim the wickets of Steve Smith, Cameron Green and Nathan Lyon. His figures of 3 for 89 in 31 economical overs helped restrict Australia to 369, ensuring India remained in the contest.
If his bowling performance was impressive, his batting was arguably even more revealing.
Walking to the crease with India still staring at a substantial first-innings deficit, Sundar displayed a level of assurance that belied his lack of experience. After Pant’s dismissal, he joined forces with Shardul Thakur in what proved to be one of the defining partnerships of the match. Their counterattack not only rescued India from a precarious position but also laid the foundation for the famous chase that followed.
What stood out wasn’t merely the 62 runs Sundar scored. It was the manner in which he scored them. Against a quality Australian attack, he looked composed, technically sound and completely unfazed by the occasion. Rather than batting like a lower-order all-rounder, he looked every bit a genuine middle-order player.
The signs continued in the home series against England later that year. Sundar contributed valuable runs again and, at one stage, averaged more than 66 with the bat in Test cricket. While his bowling remained a work in progress, India appeared to have discovered a valuable all-rounder capable of strengthening the balance of the side.
Then came the setback.
Just as his Test career was gaining momentum, injuries halted his progress. Sundar disappeared from the red-ball setup and spent the next few years battling fitness concerns while re-establishing himself through domestic cricket and white-ball formats.
His recent return against New Zealand, however, offered a reminder of why so many people had been excited about him in the first place.
The headline numbers, a stunning 7 for 59, immediately grabbed attention. Conditions in Pune undoubtedly favoured spin, but it would be unfair to dismiss the performance as merely a product of the pitch. More encouraging than the wickets themselves was the improvement in his craft. Sundar looked more confident, more controlled and far more threatening than the bowler who made his debut three years earlier.
That development could be significant for India.
Replacing a cricketer of Ashwin’s stature is impossible. Players with more than 500 Test wickets do not come around often. But Sundar offers India a different kind of value. He is a capable top-order-quality batter who can bowl meaningful overs, provide balance to the side and contribute in multiple phases of a Test match.
India’s future will not depend on finding another Ashwin. It will depend on discovering players who can build their own identities.
Washington Sundar has the talent to be one of them.
The Gabba showed India what he could become. His comeback against New Zealand suggests that promise remains very much alive. The journey is still in its early stages, but after years interrupted by injuries, Sundar finally has another opportunity to establish himself in the format where he first announced his arrival.
For both Sundar and Indian cricket, that is an exciting prospect.
girisopinion
