There was a time when Malayalam films quietly made their way into about 35 single-screen cinemas across Kerala. Back then, the concept of a ‘mass release’ was a distant dream. But as B and C-class theatres faded into oblivion and multiplexes in malls became the new norm, a silent revolution unfolded. The idea of a "wide release" took centre stage—launch the film across as many theatres as possible, capture the buzz, and rake in the revenue before opinions start spreading.
Regardless of a film’s actual merit, clever marketing—especially on social media—ensured that audiences were lured in at least for that first weekend. And so began the era of films releasing in 300 to 400 theatres. Ticket prices soared, and within a fortnight, collections began to look impressive. Soon, Malayalam films started getting dubbed in Tamil, Telugu and Hindi, releasing across India—and even going international with English subtitles.
While Tamil, Telugu and Hindi films boasted about their ₹100 crore club achievements, Malayalam cinema could only look on wistfully. Budgets were modest, infrastructure was limited, and large-scale productions were almost unheard of.
This was when producer Antony Perumbavoor posed a crucial question: “If Hollywood films can conquer global box offices, why can’t we aim for the same?” He began creating content with a wider appeal. His journey wasn’t built overnight—his debut production Narasimham (2000), made with just ₹1 crore, grossed over ₹20 crore, laying the foundation for bigger dreams.
Antony’s production house Aashirvad Cinemas released Drishyam in 2013 with a budget reportedly under ₹5 crore. The film collected over ₹75 crore from theatres alone, and including OTT and satellite rights, it crossed the ₹100 crore mark—earning the distinction of being Malayalam cinema’s first entry into the ₹100 crore club. Still, this wasn’t ₹100 crore purely from box office collections.
Inspired by this success, Pulimurugan arrived three years later—a Mohanlal-starrer with a budget between ₹25-30 crore. It eventually grossed an astounding ₹152 crore, raising the bar for Malayalam blockbusters.
Despite these milestones, such mega-projects remained rare. A major reason? The lack of financially bold producers. Except for a few, like Gokulam Movies, many refrained from taking such massive risks.
This is where Antony Perumbavoor stood apart. Unlike corporate producers, he was an independent force who firmly believed in the combined pull of Mohanlal’s star power and Prithviraj’s directorial vision. That faith was richly rewarded with Lucifer—a ₹127 crore theatrical collection and reportedly over ₹200 crore in total revenue.
Dulquer Salmaan’s Kurup joined the ₹100 crore club with ₹81 crore from theatres alone. Tovino Thomas’ 2018, made on a ₹26 crore budget, grossed ₹177 crore—touching ₹200 crore with other revenue streams.
Then came Manjummel Boys in 2024. Without a major star cast, it still managed a staggering ₹242 crore globally—a testament to changing audience tastes and trust in content-driven cinema.
The pre-release buzz around Empuraan was all about its sheer scale. Reports pegged its budget at ₹180 crore—an unheard-of figure for Malayalam cinema, though the figure remained unofficial. But with a cast that included Mohanlal, Manju Warrier, Prithviraj and Tovino Thomas, and a shoot spread across international locations, it was clear the film wasn’t made on a shoestring.
In Kerala alone, the film released in nearly 750 theatres—twice the number of a typical big release. Globally, it hit thousands of screens. In Ernakulam, it was showcased in 35 theatres. In Kottayam, every cinema was screening it. This was marketing on steroids.
What truly boosted Empuraan was its clever pre-release marketing. Producers pitched the film as a global spectacle, with teasers edited in the style of Hollywood blockbusters. Mohanlal and Prithviraj gave interviews to international outlets like the BBC, framing the film as an event.
The psychology was simple: create the feeling that missing this film would mean missing history. And it worked. Pre-bookings alone reportedly crossed ₹65 crore. Some theatres ran up to seven shows a day, with screenings continuing till 3:30 a.m.
However, post-release reactions were mixed. While the film was technically superb, many found it narratively average. Mohanlal, the hero, was on screen for just about 40 minutes in a three-hour film, with only a handful of powerful dialogues.
Sensing a possible dip in momentum, the team shifted gears—embracing controversy. The film touched upon the Gujarat riots, instantly drawing political attention. Some hailed it; others criticised it. The Kerala Assembly and even the Indian Parliament saw debates about it. When Chief Minister Pinarayi Vijayan watched the film with his family, it became prime-time news.
Suddenly, the conversation around Empuraan shifted from cinema to politics. Accusations flew—some said the film leaned towards a certain ideology, while others claimed it was critical of another. Channel debates erupted. Politicians who initially defended the film later changed stance. Meanwhile, the film stayed in the headlines.
The film’s key players—Mohanlal, Prithviraj, Murali Gopy, and Gokulam Gopalan—found themselves at the centre of a cultural storm. Mohanlal eventually issued a public apology. Some scenes were trimmed, names were altered, and a revised version was released.
But by then, the controversy had already done its job. The film crossed ₹250 crore in no time. And the edited version brought in even more curious viewers.
The brilliance lay in making the public believe that Empuraan was not just a film, but a phenomenon. Even if it fell short in substance, the audience was mentally primed to consider it a must-watch experience.
Many viewers felt Lucifer, the first instalment, was a better film. But such was the marketing muscle of Empuraan that people didn’t warn others with the usual “Don’t waste your money” comment. Instead, they said, “You must see it at least once.”
One of the film’s most fascinating side-effects was the unity it brought among fans. Historically, Mammootty and Mohanlal fans clashed during big releases. But Empuraan saw fan clubs walking into theatres together, celebrating Malayalam cinema as one.
The makers kept pushing marketing boundaries—and it paid off handsomely. Within 12 days, the film grossed ₹255 crore globally. Now, all eyes are on its 50-day collection figures.
If there’s one thing Empuraan taught the industry, it’s this: market your film like a product. Package it as an unmissable experience, and the audience will follow.
Thanks to the ambition and perseverance of Antony Perumbavoor and Prithviraj, Malayalam cinema has now crossed regional borders and claimed a global stage. Whether one loved or loathed Empuraan, its marketing triumph is a masterclass in selling cinema—and a landmark moment in Kerala’s film history.
