K G George, a maestro of cinema, once compared filmmaking to the pain of unfulfilled love. This anecdote from two decades ago resurfaces in my memory, seemingly insignificant to others but profoundly meaningful to me. It unfolded at a vegetable market near Kozhikode during the shooting of Padma Kumar’s film ‘Parunthu,’ starring Mammootty. I had brought an almost finished script, hoping for a review from the megastar, but Mammootty hinted that it needed more work. My high hopes deflated, and in a moment of despair, I handed him the script.
With a small audience present, Mammootty read a page aloud, a dialogue that inadvertently echoed George Sir’s work: “Her efforts failed miserably. ‘Adi’, ‘Pidi’, ‘Vedi’… these are all that we call cinema. She went there like a calf eating grass and returned as a cow churning milk.” To our relief, Mammootty burst into laughter and complimented our work.
This incident brought back memories of a scene from K G George’s ‘Kolangal,’ a dialogue adapted from P J Antony’s novel, ‘Oru Gramatinte Aathmavu.’ It was this scene that triggered a flood of recollections, and I recently revisited it in Lijin Jose’s documentary, ‘8 ½ Intercuts,’ which pays tribute to George Sir’s filmmaking legacy.
While many find documentaries boring, ‘8 ½ Intercuts’ captivated me. I watched it in one sitting, a testament to its engrossing storytelling. The documentary masterfully captures George’s cinematic magic and his contributions to Malayalam cinema. In the realm of Malayalam documentaries, this film stands out as a defining work.
What makes ‘8 ½ Intercuts’ captivating is its relatability, as it delves deep into George’s life and art. As someone whose first film was ‘Yavanika,’ I felt a unique connection to the documentary. Scenes featuring cinema notices from George’s time transported me back in time, evoking nostalgia for classic movie halls like the New Theatre in Changanassery, which, alas, no longer exists.
K G George’s cinematic journey is intertwined with the evolution of Malayalam cinema itself. He left an indelible mark on the industry, and even as new generations attempt to emulate him, they can only marvel at his depth and artistry. Lijin’s documentary does justice to his legacy, and its historical value extends beyond the emotional connection it evokes.
I also applaud the director and editor for seamlessly incorporating scenes from Federico Fellini’s films into the documentary. Shibu G Susheelan’s support was invaluable, and Shahina.K. Rafeeq’s contribution adds to the documentary’s richness.
A highlight of ‘8 ½ Intercuts’ is Selma George’s candid and thought-provoking dialogue. Her frankness, combined with George’s responses, provides a glimpse into their complex relationship and the realities of George’s life and career. Selma’s assertion that George is the top director in Malayalam cinema holds weight, emphasizing his unique contributions.
In conclusion, ‘8 ½ Intercuts’ not only pays homage to K G George but also explores the intricate web of life, art, and cinema. It leaves us with questions about existence and creativity, much like George’s films. Gopinathan’s dialogue in ‘Swapnaadanam’ reminds us that sometimes, we lack the answers to life’s complexities, and it is through art that we seek understanding. This documentary encapsulates the enigmatic essence of K G George, a true luminary in Malayalam cinema.
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