KG George: The filmmaker who proved all dreams are filmable (2024)

Upon his return to Kerala after completing his studies, KG George began his career as an assistant to renowned filmmaker Ramu Kariat and worked in the movie Maaya (1972).

His name took centre stage in the film industry when he co-wrote the script for Kariat’s Nellu (1974), alongside his mentor. The movie achieved immense success and gained significant recognition, particularly for its exceptional writing.

Malayalam film director KG George (Express archive photo)

George donned the director’s hat for the first time in the movie Swapnadanam (1976), a project he scripted based on a story written by psychiatrist Psycho Mohammed. The first true psychological drama to ever come out of the Malayalam industry, Swapnadanam marked a departure from the conventional films audiences were accustomed to. With meticulous craftsmanship, George created a black-and-white masterpiece that explored the emotional and mental impact of life’s challenges and traumas on people. Thus, he not only delved into the inner worlds of the characters but also invited viewers to do the same, ushering in an era where characters were treated as more than mere objects.

Starring Rani Chandra, Dr Mohandas, Soman and Mallika Sukumaran in key roles, Swapnadanam immediately grabbed the attention of many, including industry veterans and bagged the Kerala State Film Award for Best Film and National Film Award for Best Feature Film in Malayalam.

KG George with Malayalam filmmakers G Aravindan, KP Kumran and Adoor Gopalakrishnan. (Express archive photo)

In the remarkable documentary 8½ Intercuts by Lijin Jose, which delved into the life and cinematic journey of KG George, the maestro himself discussed his approach when creating Swapnadanam and noted that he aimed to break away from conventional formulas, seeking to create something unconventional and innovative.

In 1978, George directed five films: Vyaamoham, Rappadikalude Gatha, Iniyaval Urangatte, Onappudava and Mannu. Interestingly, none of these films were based on his own stories, although he wrote the scripts for two of them. Among these, Rappadikalude Gatha, scripted by the legendary filmmaker P Padmarajan, stood out by winning the Kerala State Film Award for Best Film with Popular and Aesthetic Value. Sadly, all prints of the film have been lost. However, none of the other films managed to fully showcase George’s directorial prowess.

It was in 1979 that KG George made a triumphant comeback with the musical-romantic drama Ulkkadal, which once again displayed shades of his skilful mastery. The film narrates a complex love story involving a man and three women, challenging traditional notions of good and bad and depicting life and choices as inseparable from circ*mstances.

One of George’s most groundbreaking films emerged in 1980 with Mela. The movie delved into the story of a dwarf circus clown and shed light on society’s tendency to marginalise those with disabilities. It featured Raghu, a short-statured actor, in the lead role and included several dwarf actors. While circus clown stories have always held a fascination for audiences, primarily due to the emotional challenges these characters face in harsh living conditions, Mela took a deep dive into their inner lives. It revealed how their aspirations for a dignified life were often hindered by societal prejudices.

Malayalam film director KG George addresses a press conference at Vigyan Bhawan in New Delhi on January 15, 1985. (Express archive photo)

Marital issues, a recurring theme in many of George’s films, were central to the narrative in Mela as well. However, what set the work apart was its exploration of the intertwined issues of disability and how differently-abled people had to strive harder to “earn” love rather than mere sympathy. The film also featured upcoming actor Mammootty, who later went on to become one of the reigning superstars of Malayalam cinema, in a key role.

In 1981, George shattered the established norms of Malayalam dramas with Kolangal, an adaptation of PJ Antony’s story Oru Gramathinte Athmavu. Featuring characters that seemed to be drawn directly from real life, the film presented a narrative that was exceptionally unfiltered and delved deep into the complex facets of human nature, departing from the traditional black-and-white template, and showcasing a rich spectrum of behaviours.

During the years 1982 to 1985, KG George reached the pinnacle of his artistic prowess, producing a remarkable string of films. His streak began with the mystery thriller Yavanika (1982), widely acclaimed as one of the finest Indian films in the genre and one of the most meticulously crafted Malayalam movies of all time. Boasting a stellar cast including Bharath Gopi, Thilakan, Mammootty, Jalaja, Nedumudi Venu, Venu Nagavalli, and Jagathi Sreekumar, the film unfolded the tale of a drama troupe grappling with unforeseen challenges following the mysterious disappearance of a tabalist. Yavanika serves as a reference point for masterful filmmaking, illustrating how a visionary director with unwavering command over his craft can create a timeless classic. Employing the Rashom*on effect and meticulous attention to character development and dialogues, the script of Yavanika remains as fresh today as it was 41 years ago.

In 1983, the filmmaker sent shockwaves across South India with Lekhayude Maranam Oru Flashback, 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. The film delved deeply into the pitfalls of the film industry and its treatment of women.

Set against the backdrop of Madras, a bustling hub for aspiring artistes at the time, Lekhayude Maranam Oru Flashback narrated the story of an ambitious young woman and it unflinchingly examined how male industry insiders regarded women, using them for both artistic purposes and sexual desires, often without regard for consent. The film also laid bare the culture that allowed male industry insiders to act with impunity, even when their actions constituted harassment. Crucially, the entire narrative was centred on the woman’s perspective and presented the same in an unapologetic manner, a bold approach that many male filmmakers don’t know how to accomplish even today.

Once again, George set a new standard for cinema with another groundbreaking film Adaminte Vaariyellu (1984), hailed as one of the most influential feminist movies in the country. Portraying the lives of three women from diverse social and economic backgrounds, Adaminte Vaariyellu illuminated the pervasive issue of domestic abuse and the way Malayali patriarchal society regarded women as possessions and tools, often pushing them to the brink.

Employing a parallel narrative technique, the film skillfully juxtaposed the lives of these three women and drew striking comparisons between their experiences while highlighting their contrasting natures, all the while underscoring the daily traumas that women endure both within the confines of their “homes” and in the outside world. The film’s climax was particularly noteworthy for its powerful depiction of numerous women liberating themselves, even running past the film’s own crew, including the camera and director KG George himself.

In 1984, George gifted Malayalam cinema with the political satire Panchavadi Palam, a brilliant commentary on how politicians driven by greed collaborate, regardless of their ideological differences, to embezzle public funds, with profound repercussions on the lives of ordinary citizens. By artfully weaving mythological characters into the political landscape of 1980s Kerala and attributing to them caricaturish behaviours, George and writer Yesudasan crafted a comedic masterpiece that retains its relevance even today.

On the other hand, his dark psychological thriller Irakal (1985) shed light on how the social and political climate can profoundly affect youngsters. It vehemently illustrated the tension prevalent at that time, particularly in the aftermath of the Emergency period. With its compelling portrayal of central characters like Mathukutty (Thilakan) and his son Baby (Ganesh Kumar), who bore resemblance to former Prime Minister Indira Gandhi and her son Sanjay Gandhi, as well as other well-layered characters including Annie (Srividya) and Sibi (Sukumaran), Irakal stood out for its exceptional screenplay and picturisation. Even today, it continues to receive recognition for its fearless narrative and remarkable craftsmanship.

George’s subsequent film, Kathakku Pinnil, was released in 1987, and his talent for crafting intricate characters deeply rooted in their environments shone through once again. Featuring a stellar cast including Mammootty, Devi Lalitha, Lalu Alex, Jagathy Sreekumar, Thilakan, and MG Soman in key roles, this crime drama also placed a woman at the centre of its narrative, examining the dynamics of how family and society perceive and treat them.

Another outstanding work that vividly demonstrated the potency of exceptional character development was George’s Mattoral (1988). This film also delved into the complexities within the confines of “home”, bringing to the forefront the profound impact that familial imbalances can have on people, leaving lasting emotional scars. At its core, Mattoral portrayed a dysfunctional relationship, contrasting it with the façade of apparent familial happiness on the other side through another couple. It underscored George’s ability to create deeply engaging dramas that transcended superficial storytelling.

In 1989, George created a television film titled Yaathrayude Anthyam, starring Murali, MG Soman and Karamana Janardhanan Nair in key roles and explored the camaraderie shared between two intellectuals.

Director KG George with the trophy he received after Yavanika completed 50 days in theatres. (Express archive photo)

In 1990, KG George returned to the director’s chair with Ee Kanni Koodi, a film centred around a murder investigation. This well-crafted work delved deeply into the intricacies of police procedures related to solving a murder pointing out that it could also reveal hidden and previously unknown secrets of those implicated. Ee Kanni Koodi also distinguished itself with George’s masterful direction and his ability to seamlessly create engaging investigation-based films.

KG George concluded his directorial career in 1998 with Elavamkodu Desam, which also marked a departure from his usual style as it ventured into the period drama genre, a territory he had not explored before. Regrettably, this film is often regarded as the weakest in his illustrious filmography. George later placed blame on Mammootty, the lead actor in the movie, accusing him of causing the film’s downfall.

KG George with actor Mammootty and cinematographer Ramchandra Babu on the sets of Elavamkodu Desam. (Express archive photo)

In his career spanning 24 years, George bagged nine Kerala State Film Awards and later, in 2015, the JC Daniel Award for his lifelong contributions to cinema. He was also the founder-chairman of the Malayalam Cine Technicians Association (MACTA) and served as the head of the Kerala State Film Development Corporation (KSFDC).

A trailblazer in Malayalam cinema, significantly contributing to shaping its unique identity, KG George’s passing marks the end of an era defined by excellence. However, his cinematic legacy will endure as long as the medium exists. Thank you, George sir, may you rest peacefully now.