Fahadh Faasil has reflected on the box-office failure of Odum Kuthira Chadum Kuthira, admitting that the film’s narrative structure may have been one of the key reasons it failed to connect with audiences in theatres.
The Malayalam comedy, directed by Althaf Salim, arrived with considerable expectations following Salim’s successful directorial debut Njandukalude Nattil Oridavela. Fahadh was also returning to a predominantly comic space after the success of Aavesham, making the film one of his much-anticipated projects.
However, Odum Kuthira Chadum Kuthira received a mixed theatrical response. Following its OTT release, the film also found an audience that appreciated its unconventional treatment of depression and mental health, although reactions remained divided.
Fahadh Faasil Says the Film’s Structure Was the Problem
In a recent conversation with Galatta Plus, Fahadh addressed what he believes went wrong with Odum Kuthira Chadum Kuthira.
The actor explained that the filmmakers were attempting to tell the story of his character, Aby Mathew, through another character, Revathi, who was also dealing with depression.
“I think where we went wrong was with the structuring,” Fahadh said.
Explaining the idea behind the screenplay, he said the team wanted to explore Aby’s depression through Revathi’s story rather than presenting it directly through his character.
“What we were trying to achieve with that film was to tell one person’s story through someone else. We were talking about Aby Mathew’s depression, but we were trying to crack it through another girl, Revathi, who was also fighting depression,” he explained.
According to Fahadh, the approach created a structural problem that became apparent only later.
‘Maybe the Film Should Have Started With Their Story’
Fahadh suggested that the narrative might have worked differently if Revathi’s story had been established earlier before moving into Aby’s journey.
“Maybe the film should have started with their story and then come to my story,” he said.
The actor added that the filmmakers eventually understood where the solution to the narrative issue lay, but by that stage it was too late to make the necessary changes.
“The solution was there within the film, but it was too late by the time we realised it,” Fahadh said.
His comments offer a candid explanation for how the team viewed the film after its theatrical run, without placing the responsibility on any individual member of the cast or crew.
Fahadh Faasil Says He Enjoyed Making the Film
Despite acknowledging the film’s shortcomings, Fahadh said he had a positive experience while making Odum Kuthira Chadum Kuthira.
The actor specifically praised his experience working with director Althaf Salim.
“Having said all that, I loved making that film. I loved shooting with Althaf,” Fahadh said.
The film also featured Kalyani Priyadarshan, Lal, Dhyan Sreenivasan and Vinay Forrt in key roles.
What Happened to Odum Kuthira Chadum Kuthira at the Box Office?
Odum Kuthira Chadum Kuthira carried expectations because of Althaf Salim’s previous success and Fahadh’s popularity following Aavesham. The latter, directed by Jithu Madhavan, became a major commercial success and showcased Fahadh in a widely celebrated comic performance.
The response to Odum Kuthira Chadum Kuthira, however, was considerably different.
According to the industry figures cited by Sacnilk in the supplied report, the film grossed around Rs 2.50 crore worldwide. Its theatrical run also came during the strong performance of Lokah Chapter 1: Chandra, which drew significant attention at the box office.
After arriving on OTT platforms, Odum Kuthira Chadum Kuthira developed a smaller but dedicated audience. Some viewers appreciated its exploration of depression and its unconventional storytelling, while others remained critical of the film’s execution.
The contrasting reactions have made the film a divisive entry in recent Malayalam cinema, with its OTT reception differing from its theatrical performance.
Fahadh Faasil’s Take on the Film’s Legacy
For Fahadh, the film’s commercial outcome does not appear to diminish his appreciation of the experience itself. His comments suggest that he sees the primary issue as one of screenplay structure and storytelling, rather than a lack of commitment from the people involved.
His admission that the solution was present within the film but recognised too late also highlights the difficulty of identifying structural problems during the filmmaking process.
While Odum Kuthira Chadum Kuthira did not achieve the theatrical response expected after Aavesham, Fahadh’s latest comments provide a more reflective perspective on one of the more discussed films of his recent career.
