Karuppu, released in May by RJ Balaji, marked a return to Tamil cinema’s long‑forgotten devotional genre, the “saami padam”, with actor Suriya appearing as the deity Karuppasamy in the climax.
The film may be the first sign of a broader revival. In development are Seyon starring Sivakarthikeyan, Mookuthi Amman 2 with Nayanthara, Thamizh Murugan featuring Dhanush, Vettaisaamy starring Arulnithi, and an untitled Jiiva project on Lord Murugan. Recent releases also weave religious elements into their narratives, such as Karthi wielding the Vel in Sardar 2, and songs like Sivakarthikeyan’s “Velum Mayilum”, Vaaheesan’s indie hit “Kaakum Vadivel”, and Kelithee’s “Vetrivel”. Arulnithi says, “I don’t know. We started Vettaisaamy one and a half years ago, and when I listened to the narration, there was no such trend.”
Several factors fuel the trend. Mohan Raman notes that the cost of special effects has dropped dramatically, making CGI accessible beyond big‑budget pictures. Producers believe that a film centred on a deity offers a form of divine protection, though PL Thenappan counters that no such guarantee exists. Nationally, films like Kannada’s Kantara and mega‑budget mythological projects such as Brahmastra, Hanu‑Man, and Kalki 2898 AD have drawn large audiences. H Vinoth observes that the trend reflects changes in India’s political climate and will intensify as more filmmakers seek to cash in. The humanisation of gods—portraying them as ordinary citizens or as possessed individuals—makes them relatable to audiences across the country.
The industry’s appetite for profitable formulas suggests the devotional wave will continue, with Mohan predicting a cycle: success breeds more biopics and mythological films, followed by a saturation point that will shift audiences toward new genres such as mystery or romance. The resurgence of Tamil cinema’s original heroes, embodied in deities like Karuppasamy and Murugan, signals a new era where theatres may double as places of worship for many viewers.
