Cash war in Kerala film industry

The confrontation between the opposing camps of the Kerala film technicians is not a class war but a cash-war. Fefka (Film Employees’ Federation of Kerala) has cash and has support from the CPI(M) where as Macta (Malayalam Film Technicians’ Association) has little cash and AITUC union supporting them are destined bear the hit of DYFI men or rather Mammootty fans.

Mammootty votes in election and upholds Marxist legacy and Mohanlal did not vote but he upholds Congress egalitarianism. But when they come to deal with Vinayan’s Macta they are hand in hand.The curse of Macta Federation is, Vinayan is being in the top of it. His language and also body language are worse as his films. Mammootty and Mohanlal could untie the strife but they do not. They hate Vinayan and never agree Vinayan to decide the future of Malayalam films or at least their films. They fear that if Vinaayan is given an upper hand one day he would even ask super stars not to act love scenes with teen-aged girls.

One thing that is to be categorically put is that move of the Fefka and Macta are against Malayalam film industry. Except a few crafty politicians cine viewers are not bothered of the Fefka-Macta rift. These associations have no commitment towards cine viewers. The fans associations functioning in the State point to the unemployment of the youths. The Finance Minister with his utopian idea of extending retirement age has ignored the aspirations of educated youth. Youths are therefore left with options to protect Mammootty, Mohanlal or Dileep at lake resorts and drink at a near by toddy shops for rest of the time.

My suggestion to Governemnt in this direction is never interfere in the feud between the two warring factions in the cinema filed as the rift is not a burning problem for the State.
Independent producers and directors may be allowed to produce film without the interference of Fefka or Macta.and if any one act against he may be put in jail.
Political parties should also abstain from the present feud.

K A Solaman