The anatomy of KG George’s Irakal: Exploring how patriarchy, wealth, power and crimes are inseparable

Though it can’t be stated that we saved the best for the last, since it’s impossible to select KG George’s best work as his films exhibit remarkable diversity, each diverging significantly in themes and style, concluding this series honouring the ace filmmaker by analysing his Irakal feels entirely right. Primarily because Malayalam cinema achieved its zenith with Irakal, and the film undoubtedly ranks as a worldwide classic.

After discussing the mystery thriller Yavanika, the semi-biographical drama Lekhayude Maranam Oru Flashback, the family drama Adaminte Variyellu and the political satire Panchavadi Palam, let’s finally bid farewell to the master filmmaker KG George by anatomising his psychological thriller Irakal.

Watch KG George’s Irakal here:

Penned by George himself, Irakal begins in a college hostel, where Baby (played by KB Ganesh Kumar) attacks a junior student using a red electrical wire when the latter resists his ragging bid. This opening sequence itself effectively reveals various aspects of the story and Baby’s character, deviating from the prevailing trend of lighter film openings during that era.

The film then shifts its focus to Baby’s “home”, introducing his family. These scenes shed light on Baby’s family dynamics wherein his father Mathews (Thilakan) wields all the authority and power. While Mathews’ eldest son Koshy (PC George) serves as his right-hand man, his second son Sunny (Sukumaran), an alcoholic, handles smaller tasks. These moments also underscore that the household operates based on a hierarchy rooted in patriarchy.

In a pivotal scene that depicts Baby’s interaction with the local church priest, Fr Stephen (Bharath Gopi), who is also Baby’s uncle, the film encapsulates the complexities of Baby’s family dynamics. Here, Baby confidently tells Fr Stephen that he doesn’t love his parents. When Fr Stephen inquires why, Baby responds, “There’s no love among those living in that house, so I don’t have any love for them either.” KG George’s ability to convey profound emotions with precision and through subtle details shines through in this moment. This conversation can be seen as a reflection of the hidden complexities within seemingly happy and affluent families.

Simultaneously, George’s meticulousness is evident even in the newspaper report that recounts the college incident. Unlike most filmmakers of that era who often overlooked such details, merely emphasising the headline, George takes great care to ensure that the entire report is thoroughly proofread to attain a level of perfection.

The movie also subtly delves into the complex politics of firearms. In one scene, Baby’s bedridden grandfather shares that he obtained the gun from the British but emphasises that he solely used it to deter others, never intending to cause harm. However, the elderly man recollects that once Mathews acquired the gun, he began using it to shoot animals and cut down trees without regard for the environment. The old man laments, “I can no longer hear any animals. Can you?” to which Baby responds, “No, all the animals are dead. Only humans remain now,” highlighting the film’s deeper exploration of the darker aspects of human behaviour.

Although Baby’s initial criminal actions might generate aversion towards him, the film progressively exposes that he is essentially an amplified reflection of his family members, all of whom are, indeed, morally questionable people.

George’s ability to delve beneath the superficial layers of characters shines in Irakal as well. The film effectively probes into their innermost depths, examining the psychological facets and emphasising how living conditions and relationships can significantly influence peoples’ mental and emotional states.

Amidst all of Baby’s troubles, his reaction upon discovering his sister Annie’s (Sreevidya) extramarital affair with their domestic worker Unnunni (Mohan Jose) is equally shocking as he mercilessly takes Unnunni’s life, employing the very same red wire he has kept with him. This wire gradually becomes his solution for all problems, highlighting the escalation of extreme (unapologetic) criminal behaviour among people in general.

Meanwhile, in contrast to his other works, George purposefully places most women in this narrative in the background. The sole exception is Annie, who mirrors the malevolent traits of her father and brothers, thereby highlighting how the entire world here, marred by violence, is constructed by men, with women merely enduring its consequences. Nevertheless, George doesn’t overlook moments when women assert themselves with Mathews’ wife confronting him in one scene for facilitating their children’s involvement in illegal activities.

In the film, Baby’s compassion is limited to just two characters — his lover Nirmala (Radha) and his friend Raghavan (Ashokan). However, even his feelings towards them undergo a gradual shift and Baby attempts to eliminate them as well in significant moments. All these instances serve as a commentary on the era marked by a rise in heinous crimes and a diminishing sense of compassion among people.

Through George’s masterful writing, the film portrays the family as a microcosm of Indian society, especially following the Emergency period when those in positions of authority and wielding power were causing unrest, particularly among the younger generation. In a way, the movie also draws parallels between Mathews and Baby with Indira Gandhi and Sanjay Gandhi, respectively, highlighting the consequences of too much power concentrated in one person, with those around them also gaining a share of it, resulting in chaos and eventual devastation.

A similar theme was explored in Dileesh Pothan’s acclaimed film Joji (2021), inspired by William Shakespeare’s Macbeth, as well, which also explored how a patriarch’s accumulation of power within families strips others of their agency, driving them to the precipice of crimes. Like Macbeth, both Irakal and Joji also emphasise how the allure of crime can be intoxicating, ultimately leading to disastrous outcomes.

During an episode of Manorama News’ Nere Chowe, KG George explained that his decision to stop making movies (after Elavamkodu Desam in 1998) was rooted in his unwillingness to compromise further. He stated, “If I have the opportunity, especially with a producer who allows me to create the film I envision, I would definitely consider making another movie. While I can’t guarantee its success, as that’s unpredictable in the world of cinema, I can promise that it would be unlike anything audiences have seen before.” He, however, never made another movie till he passed away on September 24, 2023.

As we conclude this series, we would like to express our gratitude to KG George for his invaluable contributions to Indian cinema. We also appreciate him for not doing films later on by making compromises. Farewell, KG George; your legacy will endure as long as Malayalam cinema exists.

This article is one installment in a five-part series that anatomises five movies by ace Malayalam filmmaker KG George, who passed away on September 24. The series aims to unravel what set him apart as an extraordinary filmmaker