Malayalam cinema has long been known for its rich and diverse storytelling, but it also carries a dynamic tradition of “fanboy films”—mass entertainers centered around beloved stars like Mohanlal and Mammootty. These movies are engineered to thrill their fanbases, offering bombastic action sequences, striking visuals, punchy dialogues, and characters that tower over the screen. Their core aim is to evoke whistles, applause, and cheers from die-hard followers. However, this genre treads a very thin line between success and failure, as the emphasis on spectacle often overshadows substance.
The fanboy genre often sacrifices deep, intricate storytelling in favor of visual dazzle and larger-than-life depictions of its lead actors. While this formula can electrify theaters when executed well, it doesn’t always hit the mark. Films like ‘L2: Empuraan’ (2025) showcase how to successfully blend style and scope, achieving a polished and ambitious cinematic result. On the flip side, others like ‘Aaraattu’ (2022) serve as cautionary tales—projects that falter due to poorly executed narratives or misaligned viewer expectations.
The high stakes involved in such films lie in their dependence on star power. When a movie leans too heavily on its lead actor’s persona and neglects the broader cinematic experience, it risks alienating the general audience. While devoted fans may be thrilled, a wider demographic might find the film lacking in emotional depth or storytelling coherence. The director and scriptwriter are thus tasked with a difficult balancing act: incorporating fan service while still delivering compelling content that resonates with all viewers.
Adding too many elements to pander exclusively to fans or overloading the film with celebratory moments can actually backfire. When fan service overwhelms the narrative structure, it disrupts the balance necessary for the film to succeed on a larger scale. “Fanboy films,” therefore, represent a cinematic gamble, often falling somewhere between soaring success and major disappointment.
A perfect example of this tightrope walk is the multi-starrer film ‘Twenty-Twenty.’ Though it primarily catered to fans by assembling some of the biggest names in the industry, it managed to strike a balance with its moderately engaging story. While the content may not have been extraordinary, it had enough merit to keep general audiences entertained. The film exemplifies how even a fan-centric project can do well if it pays some attention to story and structure.
On the other hand, some movies aim for both fan delight and narrative quality but still manage to stand apart. Films like ‘Harikrishnans’ achieved this dual goal by providing both the pleasure of seeing two leading men—Mohanlal and Mammootty—together and delivering a story that appealed to wider sensibilities. When done right, such fan-driven films can truly captivate a broad spectrum of viewers.
Among underwhelming efforts in this category, ‘Aaraattu’ remains one of the most frequently cited examples. Starring Mohanlal, the film generated significant buzz before release but ended up disappointing many. Director B. Unnikrishnan has been open about the film’s failure and does not shy away from taking responsibility. Speaking to Vishal Menon, Unnikrishnan said, “I take full responsibility for the movie’s failure.”
In a separate interview, Unnikrishnan elaborated that the film was actually intended as a spoof, a satirical nod to Mohanlal’s past roles and legendary dialogues. Unfortunately, audiences didn’t perceive it in that light, and the intended humor failed to translate. He admitted, “Mistakes are part of the journey—we grow through them. I’m not affected by criticism or social media chatter. However, I do believe that criticism should be expressed with a sense of democracy and basic courtesy. Just because I respond to criticism doesn’t make me some kind of hero.”
This kind of honest reflection is rare, especially in an industry where public image often overshadows introspection. Unnikrishnan’s remarks also highlight another essential aspect of the fanboy genre: how vital it is for the creators to understand the pulse of the audience. Misjudging audience sentiment or tone can have serious consequences, as seen in ‘Aaraattu.’
Despite occasional missteps, there are stellar examples that prove a fanboy film can be both a commercial and critical success. One such example is Prithviraj Sukumaran’s directorial debut, ‘Lucifer.’ Unlike most fan-centric films, ‘Lucifer’ chose not to oversaturate the screen with its leading man, Mohanlal. Instead, it offered a well-crafted story written by Murali Gopy, filled with suspense, layered characters, and sharp dialogue. Mohanlal’s limited screen time became an asset, allowing for a slow build-up of his character’s mythos rather than relying on constant presence.
Prithviraj’s approach in ‘Lucifer’ was widely appreciated because it didn’t treat fan service as a crutch but rather as a tool to elevate the narrative. By blending style with substance, the film created a blueprint for how to approach fanboy cinema in a more mature and sophisticated manner. The movie wasn’t just a visual treat; it was a complete package that resonated across audiences. As Prithviraj himself has stated, “Nobody becomes a star. You can only aspire to be a good actor.”
His remark underscores the idea that true stardom isn’t simply about playing to fanfare, but about embracing quality, craftsmanship, and storytelling. It’s a lesson worth remembering for filmmakers aiming to make fan-oriented cinema. Striking a chord with fans doesn’t require abandoning artistic sensibilities; rather, it calls for integrating them meaningfully into the narrative framework.
Malayalam cinema’s flirtation with fanboy films is likely to continue, especially given the passionate following that stars like Mohanlal and Mammootty enjoy. These movies offer a unique blend of nostalgia, heroism, and excitement that few other genres can match. But as audiences evolve and become more discerning, the demand for thoughtful storytelling alongside star-driven moments is only going to grow.
In the end, the most successful fanboy films are those that not only respect the aura of the star but also honor the intelligence of the audience. When done right, they become memorable celebrations of cinema. When done wrong, they serve as reminders that even the brightest stars can’t carry a film without a solid foundation.