The version of the Hema Committee report made publicly available did not take any names, but the redacted revelations were enough to revive the memories of forgotten stories of discrimination and bans in the Malayalam film industry, as well as other skeletons to tumble out of the closet. The report, without mentioning names, specifically mentions the ordeal faced by actor Thilakan and filmmaker Vinayan in the past, as well as the dissolution of Malayalam Cine Technicians’ Association (MACTA) through a star’s interventions. Soon after the contents of the report were revealed, old videos of Thilakan accusing the Association of Malayalam Movie Artists (AMMA) of banning him from cinema went viral on social media.
Mr. Vinayan as well Sonia Thilakan, daughter of the late actor, on Tuesday came out publicly, lashing out at the power centres of the industry. Ms. Thilakan, who said that her father’s stand was vindicated in the report, also alleged that a leading actor had approached her on the pretext of apologising for what happened to her father.
“He wanted me to go to his room to speak to me in person. When I questioned the need for the same, he sent me messages which revealed his intentions. If someone who is not part of the industry has to face this, one can imagine what the actresses and junior artistes have to go through. The AMMA, which was quick to oust my father, could not even respond properly after the Hema committee report came out. I will also name the 15-member power group if the committee chooses to do so,” she told media persons.
The report mentions the case of an actor who took ₹40 lakh from a producer for a movie, but did not act in the movie even after three years. Later, the actor told the producer that he will act only if the director is changed. The MACTA took a stand against the actor, who got several writers, camerapersons, technicians, and directors to resign from the organisation using his influence and support from many leading actors. After this, he formed a parallel union Film Employees Federation of Kerala (FEFKA) with the support of the power group in the industry. FEFKA used their influence over various actors, technicians, and producers not to work with the said director, who later filed a case with the Competition Commission of India and got a favourable verdict, with fine imposed on AMMA and FEFKA.
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Mr. Vinayan, the director named in the report, said that when he was the general secretary in 2008, the industry bigwigs met in a hotel in Kochi to conspire to dissolve MACTA.
“Within two years of formation of an organisation which gave junior artistes the courage to speak up to any industry big shot, it was destroyed and an organisation which toed the lines of the power centres and sponsored by them was created,” he said, referring to FEFKA. “It was from that point that all these unwanted tendencies and ‘goondaism’ in cinema exploded. I became one of the victims of the cruel games of this power group and got banned for 12 years, just because I raised my voice against them,” said Mr. Vinayan, who also accused a current Minister of being part of the 15-member power group.
The release of the Hema Committee report has not only revealed past grievances but has also opened a floodgate of reactions across the political and cinematic landscape. The report’s contents have triggered a political storm that has caught the Left Democratic Front (LDF) government at its dead centre. The Kerala government has found itself in a tight spot, with the opposition ratcheting up demands for a more profound investigation into the criminality documented by the panel. The Kerala High Court has also been involved, dismissing an actor’s appeal against a single judge order to make the report public.
As the scandal continues to unfold, AMMA and the larger film industry have responded cautiously to the contents of the report, asking for time to study it and outlining that they may need to take steps accordingly. Amidst this backdrop, victims like Mr. Vinayan and Ms. Thilakan have fortified their demands for concrete action from the State government based on the findings in the report.
Despite the lack of specific names, the revelations within the Hema Committee report serve as a significant indictment of the systemic issues plaguing the Malayalam film industry. They hint at deeply entrenched networks of influence and control, which, if left unchecked, have the potential to continue to undermine the artistic and ethical foundations of cinema in the region. As developments continue to unravel, all eyes remain on how the authorities, the film industry, and its key players address the serious allegations presented in the report.
