A seismic revelation erupted on Monday as the K. Hema Committee report, detailing the myriad struggles faced by women in the Malayalam film industry, was made public, five years after its submission to the Kerala government. The 235-page document unravels a grim tapestry of sexual exploitation, illegal bans, gender discrimination, substance abuse, and severe wage disparities. In some tragic cases, it paints a picture of inhuman working conditions that evoke comparisons to modern-day slavery.
The report, intentionally redacted to protect both the victims and the accused, lays bare the machinations replete within the industry, tightly controlled by a select group of male producers, directors, and actors. These influential figures have been described as a “mafia” by a well-known actor, wielding the power to blacklist anyone from the industry at will.
One of the most shocking revelations involves the persistent and systemic presence of the “casting couch.” Unlike many other professional fields, sexual harassment in Malayalam cinema often begins even before a woman secures her first role. Offers and opportunities frequently come with demands for sexual favours from industry elites. To substantiate these claims, several witnesses provided video evidence, audio recordings, and WhatsApp message screenshots documenting instances of inappropriate solicitations.
Adding to the pervasive sense of danger, the committee’s findings include testimonies from women who felt insecure staying in accommodations arranged during shooting schedules. In a troubling routine, intoxicated men would attempt to knock on their doors, sometimes even trying to break in. A particularly harrowing account describes an actress forced to portray the wife of her abuser the day after she was assaulted, an ordeal that left her deeply traumatized. In an effort to entice newcomers, certain people within the industry work hard to propagate the notion that success only comes through “compromises.”
Many individuals who spoke to the committee did so under a heavy shroud of fear, concerned about potential repercussions not just to their careers but also to their personal safety and that of their loved ones. The psychological strain of their experiences was often so profound that some women had never disclosed these incidents even to their closest family members.
There is a prevalent fear of legal action as well. Victims seldom approach the police, apprehensive about backlash from powerful industry figures and potential digital harassment due to their public personas. This atmosphere of intimidation was further evidenced when many dancers exited a WhatsApp group created by the Hema Committee after the group’s purpose was announced. Similarly, junior artistes, who are among the most exploited in the industry, exhibited comparable apprehensions.
The big players within the industry’s “power group” have been known to caution producers against casting actors who have fallen out of their favour.
. They possess the clout to obstruct movie releases since the Film Chamber of Commerce’s No Objection Certificate (NOC) is necessary. Production controllers also play a key role in blacklisting individuals from the film scene. The Women in Cinema Collective (WCC), the body that initially prompted the formation of the Hema Committee, faced bans because of their vocal opposition to the atrocities endured by women.
The report also notes a glaring deficiency in basic amenities such as changing rooms and toilet facilities on film sets, particularly outdoor locations. This inadequacy often results in urinary infections among female artistes. Astonishingly, some men, including a renowned actor, who testified before the committee, dismissed these issues as inconsequential.
The plight of junior artists is particularly dire. They sometimes endure working hours stretching up to 19 hours, barely receiving any compensation as intermediaries siphon off their payments. In one grievous incident, a 70-year-old woman severely burned on a film set received no financial support for medical treatment. Junior artists are also not affiliated with any film organizations, leaving them without proper representation or protection.
The lack of a standardized contract is another exploitative tactic employed within the industry. Promised payments are often withheld, and demands for intimate scenes can pressure actors into compromising positions. One actress who was coerced into performing an intimate scene left the set without her due compensation; the director threatened to retain the footage unless she personally addressed the situation in Kochi.
There’s a pervasive absence of minimum stipends for junior artists. Assistant and associate directors receive paltry earnings for months of grueling labor without the daily allowances typically provided in other industries. Their pre-production efforts are particularly undervalued.
An illuminating case involves a female scriptwriter whose script initially wove themes of gender justice but was heavily distorted by the director, leaving her unwilling to take credit.
Despite the machinations of powerful individuals, any internal complaints committee can be rendered ineffective. The report raises doubts about the confidentiality and impartiality of such committees, as industry pressures and threats could unduly influence their decisions. The Hema Committee has thereby urged the government to enact a specific law and establish a Tribunal dedicated to addressing these pervasive issues, in an effort to safeguard the rights of women in the film world.
The Hema Committee’s findings plunge a spotlight into the shadows of the Malayalam film industry, revealing an urgent need for reform and accountability to reshape this cornerstone of Indian cinema.
