Who gets larger paycheque, Mohanlal or Mammootty?

Do Mammootty and Mohanlal, the leading stars of Malayalam cinema, receive equal pay? Despite Mammootty's seniority, extensive filmography, and number of hits, Mohanlal commands a higher salary. The explanation lies in their respective box office performances.

Mohanlal’s films, such as Pulimurugan and Lucifer, have achieved record-breaking initial and total collections, setting significant milestones in Malayalam cinema. While Mammootty also boasts impressive acting skills and a substantial market value, and commands a high pay, Mohanlal's box office success contributes to the disparity in their earnings.

Tomorrow’s landscape in cinema could shift dramatically. If Mohanlal's films experience a string of failures while Mammootty’s movies achieve a box office success, the current pay disparity between them might change. This volatility is inherent in the film industry.

Prabhas gets 150 cr for a film

Take the example of Prabhas, who began his career with smaller Telugu films. However, after the success of Baahubali, which grossed approximately ₹1,800 crore globally, his star value soared, leading to a reported remuneration of ₹150 crore. This underscores the importance of star power in determining pay, sometimes overshadowing talent alone.

Similarly, Suraj Venjarammoodu, who was initially known for minor roles, transitioned to leading roles and earned national and state awards. Despite this acclaim, his market value did not see an immediate rise. However, as films like Janamaithri, Android Kunjappan, Driksakshi, Thondimuthalum Driksakshiyum, and Driving License became hits, his remuneration naturally increased. Today, Suraj commands around ₹1.5 crore per film, reflecting the impact of commercial success on an actor’s pay.

In the film industry, remuneration can be highly variable, often reflecting the shifting dynamics of star power and market demand. For example, Mammootty received a modest fee for his role in Vilkanund Swapnangal, while Sukumaran, who played the lead, was paid significantly more. Conversely, when Mammootty starred in CBI Diarykkurip, his remuneration increased substantially, whereas Sukumaran, who had a smaller role, earned less.

This disparity underscores a broader trend in the industry: high remuneration is often reserved for top-billed actors whose names drive box office success. Conversely, veteran actors of great talent and seniority might earn less if their market value declines or if they are replaced by more commercially viable stars. For instance, while the inclusion of a prominent actor like Nivin Pauly can significantly boost a film’s chances of success, replacing him with a lesser-known actor could lead to a less successful outcome. This highlights the ongoing relevance of star power and market demand in determining actors' pay.

Moreover, theatres eagerly vie for the rights to screen films starring Mammootty, Mohanlal, and Prithviraj. In contrast, they show hesitation when it comes to releasing films from stars who lack initial box office draw.

This trend extends to the distribution of theatre shares, both within Kerala and across various states in India. The disparity in marketability is also evident in international collections. A star’s marketability does not necessarily correlate with their acting prowess; for instance, Rajinikanth’s films often generate twice the revenue compared to those of the acclaimed actor Kamal Haasan. Such variations inevitably influence remuneration.

It's all about star's market value

The primary reason for the high remuneration of prominent heroes can be summarised as follows: a film featuring a star with significant market value is likely to generate a substantial theatre share, even if the film itself isn’t a hit. Unlike the past, where theatres were limited, today’s wide-release system ensures that movies are screened in approximately 300 theatres right from the outset. This broad release often means that, regardless of critical reception or audience feedback, the producer can recover a decent sum from the initial run.

Given the high ticket prices, a film needs to run for about 25 days to be considered profitable. Satellite and OTT rights are also more lucrative when the film has a star presence, even if it doesn't perform well in theatres. Channels and streaming platforms are willing to pay a premium for movies starring top heroes due to their strong fan following. A superstar’s film may even be marketed as a top grosser, despite its theatrical performance, because audiences flock to watch it on television or on OTT platforms. Additionally, superstar films often have a repeat value and perform well internationally, owing to the actors' fame in multiple languages.

Malayalam movies go global

Actors such as Mohanlal, Prithviraj, Dulquer Salmaan, and Fahad Fazil are key figures in this expansion. Another significant revenue stream is the sale of overseas rights. Previously, Malayalam films were only shown in a few select theatres abroad. However, with a growing Malayali diaspora and the rise of multiplexes, Malayalam cinema has begun to enjoy a wider international release.

This broader reach is not limited to the Malayali community; films featuring actors known to global OTT audiences also attract foreign viewers. For example, Mohanlal’s films "Pulimurugan," "Drishyam," and "Lucifer," as well as Tovino Thomas's "Minnal Murali," have garnered global attention.

"Lucifer" is reported to have achieved a worldwide gross of over 200 crores. The makers are optimistic that Mohanlal's upcoming films, "Empuraan" and "Burrows," will follow suit by reaching global audiences through English versions, potentially generating responses and revenues akin to Hollywood blockbusters.

Lead actors with their own production companies

 As Malayalam cinema transitioned to multi-crore blockbusters and the satellite-OTT market expanded, many leading actors—including Mammootty, Mohanlal, Fahad Faasil, Prithviraj, Joju George, Nivin Pauly, and Soubin Shahir—have established their own production companies. This move offers dual benefits: actors can reap the full financial rewards of their films and avoid the hefty fees typically paid to external producers.

Some stars take it a step further by financing their projects with funds from NRI investors, thus sharing the profits as working partners in these ventures. Directors are also joining the trend, with notable figures such as Aashiq Abu, Martin Prakkat, and Ranjith starting their own production houses.