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The Duality of Malayalam Cinema
Malayalam cinema has masterfully portrayed diverse aspects of life and fiction through various genres, ranging from suspense thrillers like Drishyam and Anjam Pathira to romantic comedies like Premalu and Bangalore Days, Mollywood has paved a pathway of success, leading to numerous remakes in various languages. Many people might be surprised to learn that some of Bollywood's most popular movies, such as "Hera Pheri" and "Bhool Bhulaiyaa," were originally inspired by well-known Malayalam classics. Malayalam film remakes have also been adapted successfully by other regional film industries, such as Tollywood and Kollywood. However, the past decade has witnessed a tremendous shift in the graph of box-office hits from the Malayalam film industry. The Malayalam film industry has consistently delivered back-to-back hits, making history in Malayalam cinema. Mollywood’s storytelling and presentation are remarkably distinctive and captivating, attracting a wide range of fans from other language-speaking states.
The fundamental ideas of gender and gender equality have also advanced in Malayalam films. In Malayalam cinema, it has long been customary to show women with progressive ideas or aspirations as being against society and conceited. This theme is showcased in movies like ‘Njangal Santhushtaranu’, ‘Kochu Kochu Santhoshangal’, etc. In contrast, songs like 'Poomugha Vaathilkal Sneham Vidarthunna Poonthinkalakunnu Bharya' reinforced societal expectations of the 'perfect wife’. The trend has been changing in the past decades with certain female-centric movies including ‘How Old Are You’ and ‘Rani Padmini’. However, the question remains whether there is an invisible line creating a gap in Malayalam movies when it comes to gender.
The Malayalam film industry has created a wide spectrum of movies exploring various themes of gender. Movies such as 22 Female Kottayam and The Great Indian Kitchen have captivated Indian audiences with their dynamic narratives. The Great Indian Kitchen openly depicts the oppression and struggles Indian women face in the kitchen, challenging patriarchal norms and highlighting housewives' silent sufferings. In contrast, 22 Female Kottayam examines retribution, empowerment, and resilience against gender violence. The protagonist overcomes betrayal and abuse, reclaiming her life and agency, and advocating for gender equality and respect within the home.
Issues like domestic violence have been addressed perfectly in films such as ‘Jaya Jaya Jaya Jaya Hai’, where the female protagonist counters the abuse in unexpected ways. Moreover, there has also been a positive shift towards the representation of homosexuality in movies such as “Kaathal” where the superstar Mammooty himself made the audience wonder.
Even though films that focus on women, such as “How Old Are You” and “Rani Padmini”, have been quite successful, there is still a subset of films that completely ignore the existence of women.
Despite their popularity and praise, films like Aavesham and Manjummel Boys lack prominent female characters. The movie Aavesham being primarily shot in and around college students omits any kind of female presence. The interactions and experiences of male students are depicted in detail, but the presence of women is minimal. The only notable exception is a scene where the protagonist, Ranganna, invites two sex workers to entertain his college friends. However, this representation overlooks the diverse experiences and contributions of women in such contexts, reducing female characters to objects of male enjoyment.
Director Anjali Menon recently tweeted a poster for an essay titled ‘Where Are the Women in Malayalam Cinema?’, criticising the lack of female representation. The much-endorsed article addresses the debate on women’s representation in Malayalam movies. Despite the Malayalam film industry’s back-to-back hits this year, a lack of representation and improper portrayal of gender dynamics persists. Films like “Manjummel Boys”, “Aavesham”, “Bramayugam” and “Kannur Squad” have faced criticism for lacking representation. Notably, “Aavesham” has drawn criticism for its lack of prominent female characters, despite its expansive setting, as mentioned earlier. The discussion also emphasises how only a few films in recent years have been truly women-centric, such as “22 Female Kottayam” and “The Great Indian Kitchen”.
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These omissions are striking, given the industry's proven ability to tackle complex social issues and portray strong female characters in other films. The lack of female presence in these popular movies highlights a significant representation gap, suggesting an underlying reluctance or oversight in integrating more balanced gender perspectives into mainstream narratives.
With such omissions prevailing in the industry, the recent release of the Hema Committee Report put the common public in confusion and upheaval. The Hema Committee, headed by retired Kerala High Court judge Justice K Hema was commissioned by the Kerala government in 2017 after a shocking sexual assault case involving a prominent Malayalam actress. The report unequivocally exposes the darker side of the industry by acknowledging the deep-rooted issues of sexual abuse and gender discrimination.
Following a thorough examination and research, the committee uncovered alarming issues faced by women in the Malayalam cinema. The prevalence of extremely significant problems such as sexual abuse of women actors and casting couch which forces women to exchange sexual favors for job opportunities were reported. Many women actors disclosed that they faced extreme unsafety on their film sets, and some also had to deal with cyber threats and defamation.
The committee’s recommendations included the mandatory establishment of the Internal Complaints Committee (ICC) under the Sexual Harassment of Women at Workplace (Prevention, Prohibition, and Redressal) Act, 2013. It should include members from the Film Employees Federation of Kerala (FEFKA) and the Association of Malayalam Movie Artists (AMMA). Some members of the Committee advocated for an impartial tribunal to handle cases of harassment and discrimination in the cinema industry. In order to guarantee total privacy and prevent names from being revealed in media stories, the report further suggested that the tribunal hold its proceedings in camera.
The committee also suggested that all members of the cast and crew should participate in a basic gender awareness training course before production begins. Training materials could be created in English and Malayalam and posted online. The research also recommended that sufficient and prompt financial assistance be provided to encourage films that are based on gender justice, both conceptually and in terms of the production process.
Despite sparking crucial discussions on women's safety in the film industry, the Hema Committee Report faces significant opposition from powerful industry figures, hindering its recommendations from being implemented. Actors and producers are among those who have criticised the study, questioning the need for these revisions.
Even after recognizing the significant problems affecting the Malayalam industry, the sector continues to face numerous unanticipated obstacles from influential parties in implementing the reforms and following the Hema Committee Report's recommendations. The safety of women in the film business itself is put in jeopardy by the power dynamics at play here.
So, is there an invisible line that divides the Malayalam film industry into two distinct worlds of cinema? One with extreme realities and one with no realities at all? While some movies engage deeply with gender issues and offer progressive portrayals of women and LGBTQ+ individuals, others continue to adhere to traditional norms and marginalise these voices. Ironically, many films advocate for women's safety, but the industry itself faces criticism for unsafety and violence.
In summary, the Malayalam film industry is at a turning point in its history, with one foot firmly planted in tradition and the other moving in the direction of progressive development. Gender representation’s paradox draws attention to the industry’s inconsistencies and complexity. It is believed that the invisible boundary between the cinematic worlds will eventually disappear as more filmmakers push the envelope and question social norms, opening the door for a more inclusive and fair representation of gender and sexuality in Malayalam cinema. Malayalam films may support the larger movement for social justice and gender equality by continuing to examine a variety of tales and providing a platform for under-represented viewpoints. Although there are many difficulties with the Justice Hema Committee's findings and its recommendations being neglected, the committee's establishment and emphasis on resolving these problems are reformative measures. These efforts could set a precedent for other film industries to follow. In the end, the invisible boundary between the cinematic extremes can disappear, revealing a cohesive and just cinematic environment.
By Sreya S Motti
Sreya S Motti is a third-year undergraduate at Cluster Innovation Centre, University of Delhi, pursuing a BA in humanities and Social Sciences. She has a keen interest in gender studies and cinematography.
References
Invisible and forgettable: The missing women of Malayalam cinema - The Hindu- https://www.thehindu.com/entertainment/movies/where-are-the-women-in-malayalam-cinema/article68183970.ece
Where are the women? Debates erupt over lack of heroines in Malayalam blockbusters | Onmanorama- https://www.onmanorama.com/entertainment/entertainment-news/2024/05/23/malayalam-movies-lack-of-heroines-blockbuster-hits-manjummel-boys-aavesham0.html?form=MG0AV3
Hema Committee Report, Key Findings and Recommendation- https://www.studyiq.com/articles/hema-committee-report/
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