Khalid Rahman and Ashraf Hamza drug scandal: Is Malayalam cinema's golden phase under threat?

Gulf News

28-04-2025

Dubai: The Malayalam film industry has been riding a glorious, golden phase — with films boldly tackling hard-hitting subjects, winning national acclaim, and resonating with audiences far beyond Kerala.
Movies addressing alcoholism, patriarchy, casteism, gender identity, and social injustice have cemented Malayalam cinema's reputation as one of India's most fearless and creatively daring industries. But today, a dark cloud of uncertainty and suspicion looms large.
In a shocking turn of events, acclaimed filmmakers Khalid Rahman and Ashraf Hamza — associated with celebrated films such as Alappuzha Gymkyan and Unda — have reportedly been caught consuming a negligible amount of cannabis at a flat in Kochi.
Their names now join a growing list that includes fresh crop of actors such as Shine Tom Chacko and Sreenath Bhasi, previously accused of using psychedelic drugs.
Once upon a time, the likes of Prem Nazir, Madhu, Mammootty, and Mohanlal set the gold standard for professionalism. While whispers of diva behavior or eccentricities existed, scandals involving intoxication or substance abuse were virtually unheard of.
The industry projected discipline and dignity, both on and off screen. Today, even as the current drug controversy unfolds, disturbing rumours are circulating — suggesting that some high-end actors from the younger generation allegedly rely on cannabis or other substances to perform on sets or to handle the pressures of stardom.
So far, no major names have been officially implicated, and few are willing to openly address this growing suspicion. But the silence is deafening.
Malayalam cinema has historically shown the courage to confront uncomfortable truths. Mohanlal's movie Spirit tackled Kerala's rampant alcoholism problem without judgment, while Mammootty's Kaathal - The Core sensitively explored gender identity within a conservative society. Yet, despite growing reports of drug abuse across Kerala, the issue of addiction remains glaringly absent from Malayalam storytelling.
Why the reluctance to explore a reality that is no longer at the fringes but steadily moving to the center?
As Malayalam cinema basks in global recognition, it must also confront the shadows gathering within. The industry's hard-earned credibility is now at risk. Will it continue to look away — or find the courage to address its uncomfortable new reality before it's too late?