‘Let people take a call’

Manpriya Singh 

The Delhi High Court lifting the ban on Punjabi film Kaum De Heere isn’t the first (it won’t be the last either) instance that throws open sensitive issues and touchy questions to do with films, censorship and certification. Not getting the required permissions has been the bane of pretty much any film that’s dealt with controversial past, genocide, riots, and religion. 

We talk to creative heads, who have been in similar situation in the past and, of course, the makers who waited five long years for their film to see the light of the day. And whether bans actually generate a buzz, thereby defeating the very purpose of forbidding the film from reaching the masses. 

From the maker’s desk 

The question is not whether the government should get into such a thing. Of course, it shouldn’t. The question is how to keep the certification and censor boards out of the government influence. 

Producer of Kaum De Heere Sandeep Bhalla isn’t out to convince anyone of the team’s viewpoint. “It’s a perspective and perspectives can differ and can be varied. There is no right or wrong about it. All we want is that people be allowed to take that call. We made a film, CBFC gave it all the due permissions and withdrew it later,” he shares of the film that was originally scheduled to release in the August of 2014. 

He adds, “We absolutely take the responsibility for the facts shown in the film. Rest, there are two sides to every story and any historical event. Thankfully, finally the honourable court saw the film and then decided that it does not threaten the security of the nation.” And with that he alludes to people who judged the film without even seeing it.  

‘Happened with Sadda Haq’ 

The lead actor and maker of 2013 Punjabi film Sadda Haq, Kuljinder Singh Sidhu, recalls the similar case of how his film Sadda Haq was banned by Punjab Government just a night before its release. 

“They made a committee and banned the film and immediately we approached the Supreme Court and requested that the matter be put in the urgent category. Which they did and thankfully after watching the film, the honourable court ruled in our favour. They said the film was not unconstitutional and depicted reality.” 

No censorship please! 

Why do some subjects and scripts attract immediate attention? In case of the current film it’s an obvious one, as the film presents the side hitherto unspoken about, that of former Prime Minister Indira Gandhi’s assassins Satwant Singh, Beant Singh, and Kehar Singh. “On the face of it, the title appears to glorify the assassins,” opines Nakul Singh Sawhney, the director of controversial documentary Muzaffarnagar Baaqi Hai. “But I am not in favour of censorship at all. There can be certifications to decide the age limit but censoring is a problematic situation. How can a few people decide what the entire nation should watch?” 

As a case in point he mentions the film on PM Narendra Modi. “Now that was a mighty flop, so let the people decide. Anyone who objects is free to make a counter film.” 

In troubled waters 

Shakespeare hadn’t taken into account the possibility of a 21st century India, when he asked ‘What’s in a name?’ For the filmmakers know jolly well, ‘What’s in a title?’ Trouble and lots of it! Who knows this better than Sanjay Leela Bhansali and the team of Padmaavat. 

Cheat India to Why Cheat India 

Emraan Hashmi’s Cheat India was changed to Why Cheat India after CBFC objection that the title was misleading in the context of the film, which was basically about a brilliant student appearing in entrance examination on behalf of rich candidates for money.