Maalik starring Rajkummar Rao is all set to hit the theatres tomorrow. However, here’s what has just dropped in—two dialogues have been modified by the CBFC. The very detailed information is not yet available. Well, that’s a kind blow to the film. As per reports online, CBFC has let the makers keep the action sequences all intact, allowing fans to groove along with the heavy bustle on screen. The film completed the censor process on July 4. Maalik got an ‘A’ certificate, indicating that it is an adult-only film.
Stating that, Maalik appears to have passed with leniency. But has it always been the case with other films? The deadlock between creative freedom and the CBFC has been a topic of discussion for a long time. The creative minds have often raised their concerns over the decades, and the rush of people sharing their opinions at the forefront, regarding the same, struck the right chord. However, nothing prompted the CBFC to act. Therefore, the creative impulse is constantly put under question. Age-old Shakespearen dilemma, ‘to be or not to be…’ Countless times, films were shelved and left out. If not, it got churned out with so many cuts that nothing remained real after the censor board passed.
Punjab ’95 has been a prime immediate victim of the same. 127 cuts! It was submitted back in 2022. It’s been two years, and the film is still fighting to get a release date. The censor board requested that the makers make 127 cuts in the movie. According to reports, Diljit Dosanjh and Honey Trehan have jointly decided to exclude their names from the film’s credits, as they would have to make 127 cuts to get it released. The director said, “It’s not my film then, it’s CBFC’s film,” as quoted by NDTV.
We have another on the list that’s making rounds. Udaipur Files. According to Live Law, the CBFC has identified ‘alleged offending portions’ in the film and has removed them. The release of the movie has now been put on hold by the Delhi High Court. According to reports, it’s communally provocative and is vilifying the Islamic community. Fairgrounds, definitely.
But if we rewind, we see how the grounds have been muddy. Leaving us, the audience, in a complete void and restricting us from indulging in an experience. Immersion in movies is essential. And these interventions, at times, ruin it. If you recall ‘Paanch,’ the film got banned from public screening. It had crores invested already.
An Insignificant Man got a similar fate to mourn. The film’s makers were asked not to use the names of certain political parties or mention politicians. A movie being made about politics, being censored, and the makers being asked not to showcase names related to political figures; well, that’s bizarre.
Bandit Queen, after a year of making the rounds, the makers were asked to make 100 changes to the film. However, the makers disagreed and approached the Film Certification Appellate Tribunal, which gave the film a clear call. The film was then released in January 1996, but was taken down by the Delhi High Court. After making several cuts, the SC allowed the makers to re-release the film.
Well, the list can go on endlessly. So does the intervention. What it brings is a creative dilapidation. So, where do we draw the line between regulation and restriction? With every dialogue trimmed and frame erased, the essence of storytelling takes a hit. The audience is left not with the filmmaker’s vision, but with a diluted version shaped by approvals and permissions.
