Recently, the unfortunate crash of an airplane in Kozhikode shook the entire nation. It was widely discussed in the media as it should have been. Twenty people have died in the accident, including the pilot and the co-pilot of the aircraft. The tragedy felt even more acute because the aircraft carried people who were stuck abroad waiting to return home in these trying times. Kerala has had to deal with landslides and floods in several pockets of the State besides the ongoing COVID-19 crisis. The airplane crash added to its woes. However, more than 50 passengers injured in the crash have already been discharged from hospitals and are on their way home.
A beacon of human empathy
The media also focussed on the residents of Malappuram district who arrived in large numbers to participate in rescue operations immediately after the accident. Some of these residents heard the thunderous noise and readily swung into action. Not only did they rush to the spot, they also informed their friends, activated WhatsApp groups, mobilised support and took the affected passengers to hospital in their own vehicles. They also waited patiently in queues to donate blood to help the injured passengers. The rescue operation was swift because of the participation of the local people. At a time when the news space is dominated by heartbreaking reports of disease, death and incarceration, this gesture by the local populace is a beacon of human empathy. Lest we forget, this is the same Malappuram which was maligned in sections of the media recently for political reasons. At the same time, I am not suggesting that Malappuram needs a clean chit or an image rectification certificate from anyone.
In the recent past, several Malayalam films have focused on current events in Kerala. Virus became a nationwide favourite during the pandemic. The film chronicles the Kerala government’s exemplary efforts to successfully contain the Nipah outbreak. Another film, Trance, though not based on a particular event, poses a warning about the pitfalls of blind faith. Several events interwoven into the film, about dubious ‘godmen’ and their pseudo miracles, are regularly reported in the media. There is thus a discernible tradition or, if I may say, a contemporary trend of turning recent encounters into films. Though this is not peculiar of Malayalam cinema alone, very few film traditions manage to do it as effectively as the Malayalam film industry. Screen adaptations like any other work of art are not free from artistic manipulations. Thereby they largely depend on the individual helming the project.
The task of movie-making
Having said that, cinema as an image-based medium has a wide reach which cannot be disputed. While cinema doesn’t have to be always utilitarian, it surely has a role and responsibility in a film-loving nation like ours where audiences often attempt to memorialise their present and the past through films. People also express resentment and anger when films touch a raw nerve, ask difficult questions or seemingly offend their religious sentiments. This makes the Indian film audience a rather peculiar and vulnerable film-watching lot.
The purpose of a film should be determined by its maker but many of these choices are also guided by the times we live in and the sociopolitical climate that prevails in the nation. This makes movie-making an even more onerous task. For instance, if someone were to turn the Kozhikode incident into a film, not only will it document the rescue operation, it would also serve as an important reminder of human empathy in a world that has largely endangered such emotions. Cinema could do so much in such divisive and strife-ridden times and most importantly, remind us of the need for collective empathy and public action.
Kunal Ray teaches literary & cultural studies at FLAME University, Pune
