The anatomy of KG George’s Lekhayude Maranam Oru Flashback: The film that bravely called out the film industry

Among his notable works, the 1983 movie Lekhayude Maranam Oru Flashback truly shines, thanks to its daring subject matter, even more daring execution, and impressive technical expertise. Now, after discussing KG George’s Yavanika, let’s turn our attention to his next masterpiece and anatomise it to uncover the reasons behind its enduring status as a classic.

Long before the rise of the cinema within cinema trend during the 2010s, triggered by the release of Milan Luthria’s The Dirty Picture (2011), George fearlessly exposed the film industry’s pitfalls and its (disturbing) treatment of women in his 1983 film Lekhayude Maranam Oru Flashback (LMOF). Much like Shyam Benegal’s iconic Smita Patil-starrer Bhumika (1977), LMOF also delves into the journey of a young woman’s rise to stardom and the challenges she confronts in her personal life, away from the spotlight.

Watch KG George’s Lekhayude Maranam Oru Flashback here:

While both films and their respective makers assert that they are fictional, Bhumika declares its inspiration from stage and screen actor Hansa Wadkar’s memoir Sangtye Aika right at the outset. LMOF, meanwhile, doesn’t make any such statements, though there were reports back then that the movie was loosely based on the life and career of National Award-winning actor Shobha, who tragically ended her life at the age of 17 while at the peak of her career, and her relationship with renowned cinematographer Balu Mahendra. This controversy persisted, even though George clarified that the movie was not based on Shobha.

Since the 80s was also the period when filmmakers and production companies had come to recognise that cinema was a cash cow if created catering to the male gaze, they began portraying women in either a hypersexualised manner or as paragons of selflessness, seemingly forgiving all of men’s egregious shortcomings and cruelties. In a 1984 interview with Filmfare Magazine, George said: “Unless there are compelling reasons, I do not allow my camera to disrobe a woman,” and Lekhayude Maranam Oru Flashback not only underlined this but fearlessly called out the film industry for its objectification of women.

In the initial sequences itself, LMOF showcases its technical brilliance through skilful intercuts that seamlessly weave together a conversation about Lekha (Nalini) and her family’s intention to relocate to Madras for her acting ambitions and the actual moments in Madras as they unfold. George’s adeptness in creating scenes with meticulous attention to detail, where each moment contributes meaningfully to the entire narrative, is evident in LMOF too. In the first act, George and dialogue writer SL Puram Sadanandan impressively paint a comprehensive picture of Kodambakkam and its denizens, encompassing not only actors but also technicians and journalists.

The story of LMOF wastes no time but also doesn’t overlook any essential elements. It unfolds at an impeccable pace, granting equal significance to all characters and carefully tracing their arcs, while primarily centering on Lekha.

“They won’t permit me to don any of these sarees in any movie. They believe cabaret dancers don’t require clothes. I gather these sarees as a way to preserve cherished memories. I have confidence in my acting prowess, but all they seem to want is my body, not my talent,” a colleague tells Lekha, succinctly summarising the film’s underlying theme of revealing how male industry insiders objectify women, exploiting them for both artistic and sexual gratification, often disregarding consent.

In another notable moment, after Lekha tells off the man who facilitates “relationships” between wealthy men and film stars, he is observed mirthfully ripping apart a page containing Lekha’s picture and contact information from his diary carrying many such pages, underscoring the common ordeal endured by women within the film industry.

Even during emotional moments when Lekha, who had endured a lifetime of exploitation, confides in director Suresh Babu (Bharath Gopi), believing him to be the only person who truly loves her, the film effectively portrays the man responding in a self-centred way, exemplifying typical male behaviour.

The film’s treatment of female characters, breaking away from conventional stereotypes, and its handling of workplace harassment, both in the storyline and behind the scenes by avoiding a (lewd) male perspective, vividly reflect KG George’s feminist approach, setting it apart from other films falling under the ‘cinema within cinema’ genre, which often (un)knowingly veer in the opposite direction.

In this film too, George’s talent for eliciting outstanding performances from actors shines through, as evidenced by the remarkable work of Bharath Gopi, Nalini, Mammootty, and others. Furthermore, the National Award-winning filmmaker-cinematographer, Shaji N Karun, skillfully captures the essence of Kodambakkam and Madras and their film culture with his exceptional camera work, while MB Sreenivasan’s music elevates the film to new heights, solidifying it as one of KG George’s finest works.

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