Tamil film industry in doldrums again

N Sathiya Moorthy in Madras

The Tamil film industry is at crossroads again. For the fifth time or so in as many years, producers and artistes have threatened to come out on to the streets, blaming each other for the fate of what once was a highly lucrative investment.

While producers have threatened to quit production of new films, artistes have asked the former to refrain from drawing lines of distinction and differences among artistes.

Trouble began when Ibrahim Rowther, newly elected president of the Tamil Nadu Film Producers' Association, set the ball rolling for cutting costs within the industry.

An industry accustomed to perks which are mostly unaccounted for, Tamil cinema has recorded astronomical increases in artistes' pay at the expense of production costs. These remain unrecoverable at the BO, thanks to the growth of cable television and television serials that have caught the audience's imagination.

Producers, in an effort to cut down costs, have requested directors and artistes to avoid further expenses in the form of additional assistants for the former and personal make-up artistes and hairdressers for the latter.

They have also banned the use of mobile phones on sets, arguing that they interfere with production. It has been decided that for 'imported artistes' from Mumbai, three-star -- and not five-star, as is the current norm -- hotel accommodation will be provided.

The producers won the first round with the Directors' Association, led by Bharathi Raja, accepting the proposals.

Only then were the artistes aware of the situation. They hurriedly gathered to decide their course of action. What once seemed harmless and practical took on a hurtful and sinister connotation, with senior artistes no longer in the wanted list of the producers.

While the Artistes' Association, now headed by the fading star Vijaykanth, addressed the issue on the need for individual hairdressers and make-up artists, it seems to be missing the point.

Insiders claim that most senior artistes are hurt that their name is missing in the slot of the top five. The pay of members belonging to this distinguished group is fixed by producers even before the mahurat.

Those not included this 'in' group will have to wait until after the mahurat, when distributors and cinema owners can quote a realistic price for individual films with a particular starcast.

The top five include, other than superstar Rajnikanth and Kamal Haasan, the two young artistes, Ajith and Vijay, apart from Vijaykanth himself. Thus, divisions have been created between not only artistes and producers but also among artistes themselves.

As a majority of the artistes point out, Rajnikanth has long since quit doing films made by 'outsiders.' He 'decides' the producer(s) who, invariably, are old-time friends or forgotten heroes. He even funds them and handles the finances. Thus, his inclusion as a part of the elite five comes as no surprise.

As for the rest of the clique, an upcoming actor, on condition of anonymity, says, "Only Ajith has delivered a bag full of hits in the past months, if not years, after a dismal phase in between. Vijay, who had started off successfully is now a fits-and-starts hit star, with everyone unsure of the fate of his films."

The actor continues, "In fact, the same may be said about a senior artiste like Kamal Haasan, though no one wants to admit it publicly. He is there on the producers' favoured list less out of choice and more out of habit."

But the fact remains that even today, once announced, a Kamal-starrer is sold out.

The main grouse is the inclusion of Vijaykanth in the producers' list of favourites. A middle-aged star who has seen better days with the rural audience in particular, Vijaykanth's proximity to Rowther dates back to their childhood days. The latter is allegedly the reason for the inclusion of his name in the elite five.

It is a known fact that it was Vijaykanth in his heyday installed Rowther as a producer in his own right, thus elevating the latter's status from star secretary to producer.

There may be some truth in this observation, given the fact that Vijaykanth's star power has been on the decline like that of any other middle-aged star who shared the laurels with him.

This list includes Sarathkumar, Sathyaraj, Prabhu and Murali, who together with Vijaykanth, Kamal and Rajni had formed the 'top seven' once upon a time.

No one is questioning the producers' wisdom in slotting the artistes, but Vijaykanth's name, as part of the favourites' list, is proving to be a bitter pill to swallow.

Particularly upset is Sarath Kumar, who not only has as many hits as Vijaykanth has had in the past couple of years, but also a larger image.

Incidentally, Sarath Kumar is the Secretary of the Film Artistes' Association, of which Vijaykanth is the president. Both won the berths unanimously and as a team.

Says the young artiste, "It is unfair to others, particularly Sarath Kumar, who still has some time as an actor. And to Murali, who is still considered a low-profile 'minimum guarantee artiste,' even by the producers."

Pointing out the problem, the actor explains, "What is most hurtful is the producers' decision to go to town with the five names, as if proclaiming the non-existence of the rest. This dents images and egos."

Incidentally, the female artistes are also up in arms about being excluded from the list. Whether it was the last seven-member list or the present five-member one, female artistes are conspicuous by their absence.

"To a certain extent, Rambha carried films on her shoulders as much her male costar. Then came Simran. Now, there is Jyothika. There was a time when Kushboo could single-handedly sell a new film. Not to mention the fleeting triumphs of Roja, Meena and Nagma. Yet the producers deny our contribution or honour our presence. It is a male dominated world after all," a young female artiste rues.

Says an office-bearer of the Directors' Association, "Earlier, the differences between the producers and directors were either over principles or issues. We were united in our fight to end the 'bogus video' menace and unauthorised cable television in rural areas.

"This time, too, it started on a fine note. And, now, it is degenerating into an ego clash with stars turning against each other. It is for them to sort out their differences before anything is done about the larger issues.

"On principle, at least, no one can have any complaints about the producers' concerns. What is to be done and how it needs to be done can be discussed and decided amicably."