Is the Malayalam cinema at crossroads due to the dearth of sensible movie goers?

There are umpteen number of problems that can be attributed to the never ending crisis of malayalam cinema. Almost everyday you would chance upon articles engaged in hot discussions about the superstars increasing their rates amid the rising production costs, dearth of good script writers, piracy and so on and so forth. But the real problem here is the attitude of the malayalam film viewers. It has become imperative for the viewers to change their attitudes.

There has never been a phase in malayalam cinema when it faced a dearth in good scripts and scriptwriters except for maybe in the early 2000's when the audience were so fascinated by the larger than life images played by their favorite superstars and the culture of hero worship that followed. But of late there has been a slight shift in the trend which is evident from the superstars emphasizing on being selective about their roles. But that does not mean that the cine goers have become sensible. It is just that the trend of superstar adulation has become low. The problem that lies here is that the upcoming superstars are also following the same trend of doing larger than life roles.

Even though they say that they are totally against the concept of superstars and mega stars, their words gets contradicted from the kind of scripts they accept.
Also, the point that there are no good scripts in malayalam is totally baseless. How many of us have watched offbeat films like "ee adutha kaalathu", kaiyyoppu, Indian rupee in theaters? These films did not receive the deserved appreciation even though all these films were critically acclaimed. But the point to be understood is that critical appreciation alone is not enough for a film and the people behind it to sustain. There are quite a good number of malayalam films that are releasing but such films do not receive acceptance.

There are lot of malayalam films being remade in other languages which in itself reflects the class of films being made in our industry and by our people. But sadly the appreciation comes from quarters which least matters. Ultimately it is we the audience who decide the fate of a film. We have the power and right to decide whether a film should go to the bin or whether it should be hailed.

Because acceptance of a film and birth of creative script writers and technicians are directly proportional. For such a situation to prevail it is our attitude which needs to be overhauled. There definitely is light at the end of the tunnel.