Thiruvananthapuram, February 16 – What was intended to be a politically significant moment during the CPI(M)'s development march in Balussery near Kozhikode has turned into a controversy, with allegations of staged optics and sharp satire from actor-director Joy Mathew.
The episode centers around visuals of an elderly man, Moideen, handing over Rs 2,000 to CPI(M) state secretary M. V. Govindan during the march in Kozhikode district last week.
In the widely circulated clip, Moideen is heard saying that the money came from his government pension and expressing concern that a UDF government might discontinue such welfare payments. Govindan is then seen returning the money – a gesture amplified by Left-leaning social media handles as evidence of grassroots goodwill and support for pension schemes under the LDF regime.
However, the narrative soon began to unravel.
Moideen later claimed he had not voluntarily approached the stage. According to him, certain individuals escorted him up, asked him to hand over the cash and recorded the act. He further alleged that he had been told in advance that “Govindan Master” would return the money.
While the CPI(M) has not admitted to any staging, the opposition quickly portrayed the episode as orchestrated political theatre.
Into this charged atmosphere stepped Malayalam actor-director Joy Mathew with a biting social media post, lampooning the incident as poorly executed drama. Had trained theatre practitioners from institutions like the Sangeet Natak Akademi or a School of Drama directed it, he quipped, the “pension play” might even have qualified for international festivals.
With theatrical precision, Mathew critiqued the “production” – saying the script lacked emotional depth, the elderly protagonist’s costume appeared unconvincing, and the supporting cast underperformed. In mock generosity, he reserved a “special award for natural acting” for Govindan.
He even suggested a more dramatic climax: a red flag raised aloft, a grandchild stepping forward, a rousing revolutionary chorus, and a freeze-frame finale.
Behind the satire lies a sharper political point.
A reel meant to reinforce the Left’s welfare credentials has instead sparked questions about authenticity in political messaging. In an era where optics travel faster than clarifications, the Balussery episode underscores a familiar risk: when politics turns theatrical, the audience may begin to scrutinise the script.