At The Crossroads

The Malayalam film industry is facing a moment of reckoning. The release of the Hema Commission Report has sent shock waves through the nation, but as a Malayali, 'shock' is not the emotion I am feeling. Nor is it surprise at how many skeletons are tumbling out of the closet. Because, for years, nay, decades, I, like several others, have known the truth. Women are blatantly exploited; pay parity is a joke; workplace safety is non-existent; there is a power structure that no one may question, let alone call out. 

Nothing in the Hema Commission Report is 'new'. 

What is new (and news) however, is that, for the first time, it has been set out in black and white. It is the findings of an independent commission, not just 'she said, he said'. Powerful (male) voices can no longer dismiss women artistes, technicians, and junior artistes' allegations as 'These things happen." 

Growing up, we heard about - and saw in re-releases - films from the 50s and 60s that were considered landmarks in Malayalam cinema. Films that were based on classic Malayalam literature and espoused the strong social and political activism that became the bedrock of Malayalam cinema through the 70s. Films like Ningal Enne Communist Aaki (You Made Me a Communist); Thulabharam (Weighing Scales); Neela Kuyil (Blue Koel), Iruttinte Aatmavu (The Soul of Darkness), Thurakkatha Vaathil (The Unopened Door), Punarjanmam (Rebirth), Mudiyanaya Puthran (Prodigal Son), Kuttikkuppayam (A Child's Dress), Ashwamedham (Horse Sacrifice), etc., probed themes of societal inequality, class divide, social issues such as leprosy, infertility, widow remarriage, as well as psychological trauma. These weren't 'art' films; they starred the best actors and biggest stars of Malayalam cinema, and were box-office successes as well.The ruling triad of Satyan, Madhu, and Prem Nazir alongside their female counterparts like Miss Kumari, Sarada, Sheela, et al were an integral part of this cinema. 

As their stars dimmed and we entered the 70s, Malayalam cinema became more escapist except for pockets of 'intellectual' films by doyens like Adoor Gopalakrishnan, Aravindan and TV Chandran. The demarcation was complete - there were 'commercial' films and 'art' films.

Until its resurgence in the 80s, which is, even today considered the industry's 'golden period'. Middle-of-the-road, 'slice of life' films became the mainstay of the industry; these films, with strong scripts and characters, became a reflection of middle-class dreams and aspirations. These films were marked by solid plots, strong supporting characters, and combined elements of both commercial and art films; they reflected societal issues as much as their predecessors from the 50s and 60s but served it with a spoonful of sugar.

By the 90s, however, the 'star' vehicle took over, and we were treated to cinema which celebrated the alpha male. Violence became an integral part of movies; toxic masculinity was looked up to as a role model and 'fan clubs' made an entrance. Script and plot were secondary; misogyny and rape jokes became the norm. Women characters were poorly written, viewed through the male gaze and subjected to verbal and physical abuse on screen. There were exceptions, of course, but these were few and far between.

Over the last couple of decades, however, we have seen a resurgence in the industry with fresh young voices taking over, not just as actors but as producers, directors, storytellers. This has led to not just India but the world taking notice of Malayalam films. Rooted content, strong scripts, nuanced characters, etc., are today again a hallmark of Malayalam cinema. 

Unfortunately, despite the strong matrilineal system that empowers women (from the upper castes, I hasten to add), Kerala society is inherently as patriarchal as any other. And so it is in the state's film industry. The workforce skews distinctly male. There aren't as many women technicians as there are male directors, producers, cinematographers, writers. And thus, representation of women on screen also suffers. Women characters are rarely fleshed out and not always but usually, ended up being sacrificed on the altar of patriarchy. 

This is just the tip of the iceberg. Work conditions were/are horrendous. Sexual abuse is 'normal'. Words like 'adjustment' and 'compromise' are words that many women who arrive to work in the industry - whether as actors or technicians - have heard many a time. A cult of silence was imposed on the women; those who spoke out were sidelined or blacklisted. The industry, ruled by powerful men, protected their own.

None of this is news. 

What is, however, is the event that broke this silence. The abduction and sexual assault of a leading actress in 2017. Two days later, in one of Kochi's largest venues, her industry colleagues gathered to support her and demand an investigation. What they didn't know then (or perhaps some of them did) was that the investigation would lead to one of the leading stars of the film industry - actor Dileep. The survivor's courage in filing an FIR would lead to opening a Pandora's Box in the industry. 

But in its immediate aftermath, what happened was also encouraging - other women actors came out in solidarity with the survivor. Realising that what had happened to her was not an isolated case, and indeed, had already happened to others including some of them as well, these women met the chief minister to demand gender justice, a safer work environment, sexual harassment committees and redressal cells on film sets. In November 2017, these women registered the Women's Collective in Cinema (WCC), a first-of-its-kind (and indeed, only) initiative that was by women, for women. Soon, other women stepped up to detail their stories of abuse and trauma, some going back decades. All this predated the global #MeToo Movement by months.

All the while, the male superstars (and even most of the younger ones) were conspicuously silent. Mohanlal, one of the greatest actors in Malayalam cinema at one time, had famously rubbished the #MeToo Movement as a 'trend' and scoffed at the idea of women speaking up. When the survivor went to AMMA (Association of Malayalam Movie Artists) of which she was a member, Mohanlal, the then-President of the association, assured her that AMMA would stand with her and the alleged attacker. Later, when Dileep was released on bail, AMMA welcomed him back with open arms, until Dilip 'graciously' resigned (after public outrage). 

In early 2018, WCC continued to push, saying that while they were being sidelined for speaking up, the accused were continuing to make films and the industry was continuing to back them. Public fury forced the government to institute the Justice Hema Commission, a three-member panel that would listen and document women's voices and recommend meaningful reforms to redress their grievances.

The women finally had a voice. Around 40 of them were brave enough to chronicle their trauma to the commission. By end-2019, Justice Hema had submitted the panel's report - a whopping 5,000 pages  - to the chief minister. It was a huge victory for the women in the industry. Now, at last, their voices would be heard. Now, at last, the perpetrators would be punished, and others would be warned. 

Unfortunately, reality bit back. The report was buried. Initially, the government claimed that it needed time to go through 'such a vast document'. Then, it said that it was burying the report to 'protect' the identities of the victims. All this raised questions - who were the people named in the report? Who was the government trying to protect? Had the 'Boy's Club' won? 

But, this is Kerala. The media, activists and women's rights organisations kept filing RTI cases; public discourse about the report and its burial were heated; the WCC kept pushing. Eventually, the State Information Commissioner directed the government to release the report to RTI activists, only allowing them to redact the pages that named the victims. And this, I firmly believe, happened only because of Kerala's unique history of socialist ideals, an educated electorate and strong civil discourse.

The report was a bombshell in that it documented, with evidence, cases of sexual harassment, casting couch, pay disparity (and even being forced to work without pay), exploitation of female artistes and junior artistes, etc. The report also determined that sexual harassment and assault were 'shockingly rampant' in the industry and that it 'remains unchecked and uncontrolled'.

But perhaps what was even more shocking was the fact that all this was being endorsed by some of the biggest names in the industry. The fact that there is a 'mafia' controlling the industry may not come as a shock to insiders, but it has exposed the big actors, directors, producers, etc., of condoning if not encouraging this blatant abuse of power. And that this abuse of power begins even before women start working in the industry. What's perhaps the most shocking is that the committee found evidence of even minors being sexually harassed. 

What the WCC members said about AMMA deflecting their statements and concerns is also coming out in the aftermath of this report's release. AMMA's board claimed that, until the publication of the report, they were unaware of the issues faced by the women. (This, despite the multiple complaints that several women had lodged with the association.) Then, they claimed they had to study the report in full; then, it was something else that took their attention. All the while, they claimed there was no such powerful lobby or mafia in the industry, and that saying so made the whole industry look bad. 

But, the report's release had emboldened several women, some from other industries, to speak up. Charges were levelled against several of AMMA's office bearers. Other leading lights in the industry also came under the scanner for their trespasses. As of now, charges of sexual harassment and/or rape have been filed against at least three men, two actors and a director.  The entire Board of AMMA quickly resigned as criticism mounted, prompting actor Parvathy to term it 'cowardice'. Instead of standing by their female members, the men chose to disappear. 

Until recently, neither of the two superstars, Mammootty or Mohanlal, had deigned to release a statement. When they did, as expected, they deflected. Mohanlal begged the media to 'save the Malayalam film industry'. Mammooty echoed his friend and colleague even while claiming to welcome the Hema Commission Report and saying that police investigations were proceeding. Neither of them made any reference to the sexual harassment charges against their colleagues or indeed, of the women who came forward to the committee.  Both also claimed that there is no such 'power lobby' in the industry, despite the committee stating - with evidence - otherwise.

Powerful men always come together to save themselves and each other. We have seen it over and over and over again. The patriarchal hierarchy is important to protect. For it offers them opportunities to do all that they seek to do without accountability or punishment. Whether the investigations into the report's documented issues will finally lead to a reckoning for the perpetrators remains to be seen. After all, the wealthy and the powerful have always been able to suborn justice.

But I have hope. Malayalis are obsessed with films. I've mentioned before how every city or town has its own film clubs, film appreciation seminars, and townhalls with prominent writers, directors, actors, etc. That society is now demanding answers - from their heroes, their idols, their superstars. And they are demanding accountability. 

Kerala's progressive civil society will also not back down without answers. The women have raised their voices and show no signs of returning meekly into the silent void. Women from the industry, and their male allies, are working to reform their workplace to provide an equal and safe playing field for all. 

The Hema Commision Report's ripple effects are being felt across other industries. Actor Ritabhari Chakraborty has requested Bengal's chief minister to institute a commission like the Justice Hema Commission to probe the issues plaguing the Bengali film industry. Female actors in Tamil Nadu have suggested that perhaps they need something similar. Only time will tell whether they have the gumption to form a WCC in their own industries so that the sisterhood can look out for its own.

The Malayalam film industry is at the crossroads. We can only wait and see which direction it takes.