Acclaimed filmmaker Sanjay Leela Bhansali has again been engulfed in a controversy. This time around his soon to be released magnum opus Padmavati, which has enraged a section of people in North India –   Rajputs in particular, who have threatened to behead Bhansali, maim lead actress Deepika Padukone apart from stopping the screening of his film. A few years ago, Bhansali had faced the ire of some religious groups over his film Ram Leela over the title. Bhansali then rechristened the film to Goliyon Ka Raasleela – Ram Leela and managed to get away. And his last movie, Bajirao Mastaani suffered similar pre-release blues when activists from Maharashtra claimed that Bhansali was distorting history in the guise of creative freedom. The film was finally released after Bhansali claimed that it was a fictional work. So, with all his rich experience in handling similar crises in the past, hopefully Bhansali will get over this as well, even as I hear that the producers have deferred the release of the film.

Bhansali is not alone in this. In the past, quite a few filmmakers have gone through the harrowing experience of their film being threatened to be stopped. And the reasons varied from “hurting religious sentiments” to ‘distorting history” to “disrespecting past leaders” to “using Pakistani actors” to “hurting a particular community” to “against Indian ethos” and so on. Almost every month we have a film which gets caught in such a controversy at the time of release. Conspiracy theories abound that filmmakers often play with fire to stoke these controversies as a means to promote the film. In these days, where a film’s financial fate is decided on the opening it gets, one cannot dismiss these theories. Controversies help to “hashtag” the film for a few days and help to raise interest levels. And then the producer gets into a “compromise” with the fringe groups in return for a safe passage for the film. And one cannot blame the producer for the same as a few million bucks ride on each of these films.

These days, some fringe group or other raises a stink even before they have seen the film suspecting to hurt their sentiments just by going by the trailer and promotions. In the case of Padmavati, Bhansali got into trouble just as he began shooting when a group called the Karni Sena vandalised the sets at Kolhapur earlier this year. What perplexes one is how could they conclude that the film is going to hurt their sentiments even before the shooting started? Did they get to see the script? The Karni Sena chief admitted recently that though he not seen the film he had a “hunch” of what the film is about. Well, if only if we can find a way of utilising their skills of prescience better, like in weather forecasting, we may be better off.

In effect, what we see is fringe groups taking the mantle of the censor board and becoming “Censor Senas”. Karni Sena, which was originally formed for securing the interests of Rajputs against discrimination, seems concerned only about the image of their clan as depicted in films as can be seen the last few times they shot into limelight – like before the release of Ashutosh Gowarikar’s Jodha Akbar. During the release of Kamal Haasan’s Vishwaroopam, I felt that filmmakers may have to get their films certified by fringe groups on whom the film is about. But it appears that not just fringe groups, but filmmakers may have to seek approval even from news anchors, as we saw yesterday when the producers of Padmavati had an exclusive screening of the film for a few news anchors. So, Arnab Goswami apart from being the prime time prosecutor-cum-defence lawyer and judge now has turned a “Super” Censor Board member as well.  As things stand, in India, filmmakers may have to show their script, may be add a few scenes to glorify and take blessings from the “Censor Senas” and then commence shooting!

In all this, what comes under very close scrutiny is what the government of the day does or doesn’t do in such circumstances. In this, no party has covered itself with glory. While the Constitution has enshrined the Freedom of Speech and Expression as a fundamental right, as far as political parties are concerned it is often secondary. What is more important to them is the political impact of exercising that freedom. And they take umbrage under “whataboutery” of such incidents of the past. I am certain that if the ruling government makes its intent clear right from the beginning that once the Censor Board clears the film for release, they will ensure that they will provide the necessary support, the threats of stopping the film will lose its sting. But usually, it’s not the case. The party panders to the community overtly or covertly as per their electoral clout and plays to the gallery. Just like what the BJP government in Rajasthan has done in the case of Padmavati or what the AIADMK government did for Vishwaroopam. Then it is left to the filmmaker to broker peace with the protesters either financially or by tweaking content. Either way, it doesn’t augur well for our country which often talks of promoting its soft power!

“Your right to swing your arms ends just where the other man’s nose begins” is a quote often made in the context of freedom of expression. So, the argument is that no creator has any business of hurting sentiments of others and hence they should stay off topics like religion, community, biography of leaders, depiction of history and Indian culture. If that is the case, I am afraid that the only way out for filmmakers is to dish out standard fare without attempting to push the envelope.

While in a country where people are emotional and argumentative, aspects of religion occupy an important place in one’s lives, I do agree that it is important to respect the sentiments of others. However, any act of disrespect or alleged disrespect cannot be judged by people themselves. It was our former PM Vajpayee who once said, “An answer to a book is another book!” in the context of banning a book. Similarly, the answer to a film one doesn’t like is to stay away from the film and not threaten to stop the film or vandalise the theatres!

Ergo, I feel that the role of the Censor Board becomes crucial while certification. As per its charter, the CBFC (Central Board for Film Certification) can refuse to certify a film on many accounts including some of the concerns espoused like disturbing communal harmony. Once the film is certified for release by the Censor Board in its due wisdom, it should become the responsibility of the state to support the filmmaker with its release, if the situation warrants. With such an onerous responsibility, it also becomes crucial for the Board to have the right people as its members.  Here again, instead of treating the Censor Board as a parking lot for loyalists, considering the sensitivity involved, the government of the day should pack this with eminent people from different walks of life who can carry out the job without prejudice.  At a time when as a country we are in the throes of “arriving” on the world scene, we need minimum distractions.  The threat to Freedom of Expression must not be one. Time for the Censor Senas to rest in peace!