Film Censorship in India

With an annual production of about 1600 to 2000 films, in Hindi along with twenty other regional languages, India film industry is largest in the world in terms of numbers. The revenue for the industry is expected to touch $3.7 billion by 2020 with a growth rate of 11% annually. With the advent of multiplexes and mobile streaming devices, Bollywood has not only developed into a remunerative industry but also has increased its social influence. Films not only provide us entertainment, but it also shows a reflection of our society, sensitizes us about various issues and helps develop a rational identity. With such far reaching functions, films are expected to be regulated to an extent using logical reasoning by the authorities. However, recently the apex body for film censoring-CBFC has been in the eye of the storm for all the wrong reasons.

Censor Board and Censorship in India

Central Board of Film Certification (CBFC) or Censor Board is a statutory body under Ministry of Information & Broadcasting, which regulates the public exhibition of films by certifying them under The Cinematograph Act, 1952, The Cinematograph Rules, 1983, and the guidelines issued by the Central government. In a broad sense, the film certification is guided by Article 19(2) of the Constitution which puts reasonable restriction on freedom of expression of any medium in the light of public exhibition of them for seven broad reasons namely-security of state, integrity of India, friendly relations with other nations, public order, decency and morality, contempt of court and defamation. A film can be banned for specific reasons. However, films have been banned in India for flimsy reasons under the garb of article 19(2). Some of the notable examples-

Deepa Mehta’s Water (2005) was banned as it showed the plight of widows in our society. Recently, Leslie Udwin’s documentary India’s Daughter was banned as it showed our nation in poor light by highlighting the incidence of rapes around us.  Movies like Aandhi and Kissa Kursi ka were banned as they mocked the ruling Gandhi family. Movies depicting communal violence like Firaq and Parzania were banned in Gujarat as they depicted scenes from the riots in the state. The list also includes Black Friday, based on Mumbai blasts and Amu depicting 1984 Sikh riots. Although all of these films have now been released, they certainly have missed out their prime time. Films like Da Vinci code-which hurt the beliefs of Christians by depicting an alternative view of the life of Jesus was banned in some states. Also, films like Sins which showed the sexual life of Keralite Catholic priest was banned in Kerala. Mira Nair’s Kamasutra, Shekhar Kapoor’s Bandit Queen, along with the Hollywood movie Fifty Shades of Grey ran into rough waters for their explicit content. Also, Films dealing with taboo subjects like LGBT are also censored on the account of their “anti-social” themes, for instance, Deepa Mehta’s Fire and recently Malayalam movie Ka Bodyscapes were under CBFC’s red eye.

Almost all of the referred films are taken to FCAT or to Courts after they are asked to make numerous cuts or given an outright ban by the CBFC. The Supreme Court has declared pre-censorship to be a factor in not offending freedom of speech and expression (K.A.Abbas vs Union of India 1970), it subtly hinted at censor not to hinder the free flow of art.

CBFC chief Mr. Pahlaj Nihlani has often come under fire for opting an Orthodox point of view and abiding the guidelines, which themselves are extremely vague in nature at times, to undermine certain sections of society and freedom of thought. Two most recent examples are Prakash Jha’s Lipstick Under My Burkha and Abhishek Chaubey’s Udta Punjab.

Udta Punjab received flak from the Censor Board for explicit use of abuses and portraying Punjab in a ‘dim light’. The film was based on the worsening drug trafficking situation in the state. The Censor Board reportedly directed the makers to cut 89 scenes at first. However, when the makers approached Mumbai High Court, CBFC reduced the recommended number of cuts to 13, including removal of words like MP, Elections, and sign boards displaying Punjab and Amritsar. Mr. Pahlaj Nihlani went as far as accusing Anurag Kashyap of taking money from Arvind Kejriwal, in the light of the elections where were soon going to take place in Punjab.

Critically acclaimed filmmaker Prakash Jha’s Lipstick Under My Burkha was also initially banned in the country. The CBFC cited that the movie featured “abusive words, audio pornography, and a bit sensitive touch about one particular section of society”, implying it might offend Indian Muslims. “The story is lady-oriented, their fantasy above life,” the board said. It is as if Mr. Nihlani refuses to recognize libido of women in this country, denying them independence and freedom of thought.

Pahlaj Nihalani, the flag bearer of censorship in the country is himself an interesting personality to observe. The films he produced were huge commercial successes. However, if one reads between the lines, some of his songs scream of the Censor Board Chief’s hypocrisy. Here are the top three songs of the film, as they appear in the album: Khada hai, khada hai, khada hai (an aroused Anil Kapoor urging Juhi Chawla to let him have sex with her.); Le lo, le lo mera; and Ye , maal gaadi mujhe dhakka laga (a wife pursuing her husband to thrust in till it’s hot). Nihalani’s films were also full of sexual choreography - the pelvis-thrust-in, thrust-out choreography that featured in the sarkae-lo-khatiya age of Indian cinema.

In countries like America, there is seldom any censorship; instead, the Hollywood has ‘certification’ – based on a film’s content, it is given a U, U/A, A or R rating certificate. The rest is left to viewers’ discretion, which is a really healthy practice, ensuring freedom of expression, of both filmmakers and viewers. The guidelines established by CBFC are decades old and irrelevant in modern India. A new system of film certification, more so in lines with the rest of the world is long overdue in the country; after all, India is a free democracy, and one must have his freedom of expression.

However, removal of Pahlaj Nihalani as the CBFC chief and appointment of Prasoon Joshi was a much-needed change. Vidya Balan too has been appointed to CBFC committee, all of which sounds liberating from the chains tied in the name of sanskaar.