Chevalier Dr. Kamal Haasanin Mayyam - Part 9

[jaypeenattu]

KamalHaasan's Box Office Prowess - An Analysis
This analysis of Kamal Haasan’s BO successes over the years is to serve as an eye opener for not only fans of Kamal Haasan but also other actors, people that calls themselves ‘industry trackers’ and analysts.
1971 – 1980
Kamal Haasan first established himself as the major star in the Malayalam Film Industry (MFI) with major hits like Madanatsavam, Eeta and others. Following his successes there, he planted a firm foot in the Tamil Film Industry during this period with monster hits like 16 Vayathiniley, KalyanaRaman and Sigappu Rojakkal were sandwiched by other major hits like Sattam En Kayil, Illamai Oonjalaadugirathu, Guru, Thayilamal Naanillai and Ram Lakshman amongst others.
In the same period, KH established himself as a major star in the Telugu Film Industry (TeFI) with the blockbuster hits like Sommakoduthi Sogakoduthi and Marocharitra. Aside from straight Telugu films, KH carved a huge market for himself with his dubbed Tamil films doing roaring business in AndhraPradesh.
KH was really riding the BO wave in 2 industries at the same time while continuing with his assault on MFI.
Other aspect of his BO successes was the emerging fan following for KH in Karnataka. Industry insiders used to wonder at his BO prowess that was truly spread across the whole of South India and admit that it was bigger than any other star had to that point including the legendary MGR.
His exalted star status during this period can be exemplified by these 2 instances –
1. KH was supposed to act in the remake of Yaadon Ki Baarat as one of the brothers and the initial ad said “Makkal Thilagam MGR and Kathal Ilavarasan Kamalahasan” inianthu nadikkum “Naalai Namathey”. For reasons not required now, it didn’t happen.
2. One more proof of his star status and fan following in the state of TN was the way MGR wooed KH to join the AIADMK. Their association grew from that and KH even had a song featured in late MSV’s Mangala Vaathyam, which referred to MGR and his party’s 2 leaves symbol (Vandina athu vandithaan, vaathyaru vandithan)
1981 – 1988
With South India truly conquered and under his domain, KH set his sights on the North of Vindyas and expanded his empire through the blockbuster Ek Duuje Ke Liye. For the first time ever, Indian cinema truly had an All India SuperStar in Kamal Haasan. As though the producers of Allavudeen and Arpudha Vilakku were prescient, they had advertised 1 year earlier in the popular Trade Guide magazine (featuring real box office numbers) saying “All India Super Star KamalaHasan in AAA”. It came true in 1981.
1982 started with the romantic tearjerker Vaazhvey Maayam. He topped VM in his next movie Moondram Pirai and even though both were super hits at the BO critics were claiming that KH might not command major success at BO. They were truly made to shut up with the astounding blockbuster that was Sakalakala Vallavan. TFI had never seen a movie become such a monstrous hit and that broke all previous records held. There was no questioning KH’s Super Star status anymore. He followed that with one of the classiest movies ever made in India with Sagara Sangamam, which turned out to be a monster hit in AP. More than any other movie, this gave KH the confidence that a classy movie can also set the cash registers ringing in a big way.
Blockbusters and Super Hits flowed like the river Cauvery of a bygone era across all languages in the form of Sanam Teri Kasam, Kakki Sattai, Swathi Muthyam, Saagar and whole host of others.
1989 – 1999
KamalHaasan broke all paradigms of commercial movie making with blockbuster hits like Aboorva Sagotharagal, Devar Magan, Indian, Avvai Shanmughi. Be it the use of available technology, novel way of story telling, retaining nativity KH showed his true mastery over the film medium which nobody before or after could achieve. For the first time, since KH took over the mantles from MGR and Sivaji, a true competitor emerged during this period with Rajinikanth having his first blockbuster hit in 1994 (Baasha).
Given the changing political trends in the state and KH avoiding politics like the plague and turmoil in his personal life sort of took a toll on his movie career in the next phase.
2000 – 2015
KamalHaasan made some memorable movies during this period like Hey Ram, Aalavandaan, Anbe Sivam and the recent Uttama Villain which did not achieve its potential at the BO. But he delivered stunning blockbusters with Tenali, Vettaiyadu Vilaiyadu, Dasavatharam, Vishwaroopam and Papansam.
To put all this into perspective, let us look at his contemporaries from different industries.
Tamil – Rajinikanth was a late bloomer at the BO and owed his success to the media but has been struggling massively to succeed on his own terms since his last genuine hit in 1999 (Padayappa)
Telugu – Chiranjeevi has long been forced into retirement
Malayalam – Mammooty and Mohalal are still around but they are limited in both what they can do on screen and their box office clout
Even though KamalHaasan started on his film career well before the above-mentioned contemporaries, he is still on top of his game calling the shots and making movies on his own terms while delivering hits at the BO.
This is the true story and extent of KamalHaasan’s BO potential that our present day “analysts” refuse to acknowledge while followers of younger stars is unaware.

[rsubras]

KamalHaasan's Box Office Prowess - An Analysis
This analysis of Kamal Haasan’s BO successes over the years is to serve as an eye opener for not only fans of Kamal Haasan but also other actors, people that calls themselves ‘industry trackers’ and analysts.
1971 – 1980
Kamal Haasan first established himself as the major star in the Malayalam Film Industry (MFI) with major hits like Madanatsavam, Eeta and others. Following his successes there, he planted a firm foot in the Tamil Film Industry during this period with monster hits like 16 Vayathiniley, KalyanaRaman and Sigappu Rojakkal were sandwiched by other major hits like Sattam En Kayil, Illamai Oonjalaadugirathu, Guru, Thayilamal Naanillai and Ram Lakshman amongst others.
In the same period, KH established himself as a major star in the Telugu Film Industry (TeFI) with the blockbuster hits like Sommakoduthi Sogakoduthi and Marocharitra. Aside from straight Telugu films, KH carved a huge market for himself with his dubbed Tamil films doing roaring business in AndhraPradesh.
KH was really riding the BO wave in 2 industries at the same time while continuing with his assault on MFI.
Other aspect of his BO successes was the emerging fan following for KH in Karnataka. Industry insiders used to wonder at his BO prowess that was truly spread across the whole of South India and admit that it was bigger than any other star had to that point including the legendary MGR.
His exalted star status during this period can be exemplified by these 2 instances –
1. KH was supposed to act in the remake of Yaadon Ki Baarat as one of the brothers and the initial ad said “Makkal Thilagam MGR and Kathal Ilavarasan Kamalahasan” inianthu nadikkum “Naalai Namathey”. For reasons not required now, it didn’t happen.
2. One more proof of his star status and fan following in the state of TN was the way MGR wooed KH to join the AIADMK. Their association grew from that and KH even had a song featured in late MSV’s Mangala Vaathyam, which referred to MGR and his party’s 2 leaves symbol (Vandina athu vandithaan, vaathyaru vandithan)
1981 – 1988
With South India truly conquered and under his domain, KH set his sights on the North of Vindyas and expanded his empire through the blockbuster Ek Duuje Ke Liye. For the first time ever, Indian cinema truly had an All India SuperStar in Kamal Haasan. As though the producers of Allavudeen and Arpudha Vilakku were prescient, they had advertised 1 year earlier in the popular Trade Guide magazine (featuring real box office numbers) saying “All India Super Star KamalaHasan in AAA”. It came true in 1981.
1982 started with the romantic tearjerker Vaazhvey Maayam. He topped VM in his next movie Moondram Pirai and even though both were super hits at the BO critics were claiming that KH might not command major success at BO. They were truly made to shut up with the astounding blockbuster that was Sakalakala Vallavan. TFI had never seen a movie become such a monstrous hit and that broke all previous records held. There was no questioning KH’s Super Star status anymore. He followed that with one of the classiest movies ever made in India with Sagara Sangamam, which turned out to be a monster hit in AP. More than any other movie, this gave KH the confidence that a classy movie can also set the cash registers ringing in a big way.
Blockbusters and Super Hits flowed like the river Cauvery of a bygone era across all languages in the form of Sanam Teri Kasam, Kakki Sattai, Swathi Muthyam, Saagar and whole host of others.
1989 – 1999
KamalHaasan broke all paradigms of commercial movie making with blockbuster hits like Aboorva Sagotharagal, Devar Magan, Indian, Avvai Shanmughi. Be it the use of available technology, novel way of story telling, retaining nativity KH showed his true mastery over the film medium which nobody before or after could achieve. For the first time, since KH took over the mantles from MGR and Sivaji, a true competitor emerged during this period with Rajinikanth having his first blockbuster hit in 1994 (Baasha).
Given the changing political trends in the state and KH avoiding politics like the plague and turmoil in his personal life sort of took a toll on his movie career in the next phase.
2000 – 2015
KamalHaasan made some memorable movies during this period like Hey Ram, Aalavandaan, Anbe Sivam and the recent Uttama Villain which did not achieve its potential at the BO. But he delivered stunning blockbusters with Tenali, Vettaiyadu Vilaiyadu, Dasavatharam, Vishwaroopam and Papansam.
To put all this into perspective, let us look at his contemporaries from different industries.
Tamil – Rajinikanth was a late bloomer at the BO and owed his success to the media but has been struggling massively to succeed on his own terms since his last genuine hit in 1999 (Padayappa)
Telugu – Chiranjeevi has long been forced into retirement
Malayalam – Mammooty and Mohalal are still around but they are limited in both what they can do on screen and their box office clout
Even though KamalHaasan started on his film career well before the above-mentioned contemporaries, he is still on top of his game calling the shots and making movies on his own terms while delivering hits at the BO.
This is the true story and extent of KamalHaasan’s BO potential that our present day “analysts” refuse to acknowledge while followers of younger stars is unaware.

Throwing light on Kamal's achievements are well and good as he deserves each and every amount of praise for his contribution, but dwarfing and maligning his competitor's success (media creation, late bloomer etc.,) for the sake of glorifying his achievements is certainly not fair imho