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“There is no political pressure whatsoever on the censor board regarding Udta Punjab.”

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Censor chief Pahlaj Nihalani, once again under attack for the severe censoring of Udta Punjabi finally speaks up on the issue in an interview.

You are once again being condemned , this time for ordering 89 cuts in Udta Punjab…or is ot 90?

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Who has counted these cuts? The producers of Udta Punjab have not even implemented any cuts in the film as yet. So how does the media know about the number of cuts in the film? It’s like doing a sex-determination test for an unborn baby.It’s unethical and illegal.And just who are these people screaming against the CBFC(Censor Board Of Film Certification)?

Anurag Kashyap for one?

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I haven’t met him  even once about Udta Punjab .We’ve never spoken on this matter. In the past when a film produced by him NH 10 was in censor trouble I did my best to help him follow the censor guidelines.  When there was objection to his title Bombay Velvet we at the CBFC passed the title to ensure Mr Kashyap’s creative urges do not get suppressed. Now when  he is not getting  his way with the CBFC I am the biggest villain  in the creative world.So be it. Mr Kashyap  is like  a child being denied a toy.He loves to make a noise every a film  directed or produced by him is released.And since he makes a LOT of movies he also makes a LOT of noise. I believe he has called me an extremely egotistical man. A lot of people feel the same about him.

Kashyap feels you run the CBFC like your personal fiefdom?

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Says who? Ashoke Pandit? The man whom Kashyap hails as a sensible voice in the CBFC just because Panditis opposing the CBFC’s decision to not allow Punjab to be vilified in Udta Punjab. It’s like that filmmaker who thinks the only critic who understands his film is the one who praises his film.

Could you tell us what exactly are the cuts that the CBFC wants?

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Tell me something. Do all those tv anchors and their panelists who are shouting down the CBFC and calling me  all sorts of names,understand what they are talking about? Do they know the issues involved? Learned panelists on tv discussions where everyone screams everyone else down, says if today Mother India or Dilli Ka Thug was to be made we’d object to ‘India’ and ‘Dilli’. Sounds very clever. But these were stories of one individual. UdtaPunjab claims to mirror the truth about the whole of Punjab. According to the film 70 percent of the youngsters are drug addicts. Where did they get this figure from? The film’s dialogue explicity states Punjab isbanjar(barren) land and the people there are kanjar(wayward, promiscuous). Tell me , is this not vilifying the whole of Punjab?

But the makers of Udta Punjab have put a disclaimer at the beginning saying it’s all a work of fiction?

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What is the disclaimer worth when after claiming to be a work of fiction the film proceeds to name every major town in Punjab from Amritsar to Taran Taran as a drug den? How is it a work of fiction when you are naming real towns from Punjab? When Kashyap and his gang of Wasseypur calls me egotistical and someone calledSuhel Seth feels I have “feeble intellect” I’d like them to use their highly developed intelligence to understand that the CBFC is not controlled by me. There ‘s a  committee which I head . Yes, I’ve the final authority to ask for changes before certification.It’s an authority given to me by the government. I repeat for the umpteenth time, I am only following the guidelines. And I’ll continue to do so even if intellectuals like Kashyap and Seth  abuse me for doing my job.

So what happens to Udta Punjab? Does it release on time on June 17?

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The CBFC has never stopped  any film from being released on time. When Udta Punjab came to us for certification we found the film carpeted with the filthiest abuses. Almost every line that Shahid Kapoor speaks is filled with the most explicit abuses and gaalis that even I had never heard. We said, ok, let him abuse when his character is under the influence of drugs. But why should he  talk like that when normal? Who speaks like that  in everyday conversations? We’ve even allowed Alia Bhatt to abuse. But we couldn’t allow Punjab to be damned and labeled a drug haven.

Kashyap says he won’t take  a single cut?

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Let him fight it out. Then don’t blame us for the delay in release. It wasn’t Kashyap who came to us for censoring. Jeetendraji on behalf of Balaji Telefilms and the film’s director Abhishek Choubey came for the censoring.We suggested the cuts which they agreed to take and promised to return after making the cuts. But instead Anurag Kashyap decided to go to the media. He wants to now why we haven’t given him a formal letter about the cuts. It’s because the film is with the Revising Committee. Until they come to a decision we cannot issue a formal letter.

Will the film be allowed to be called Udta Punjab?

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All those who are talking about creative freedom should first see the film. How are they discussing Udta Punjabwithout seeing the context in which we have suggested the cuts?

Are you under pressure from the government to stop Udta Punjab?

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Let me make this very clear. There is no political pressure whatsoever on the censor board regarding UdtaPunjab. The CBFC is being allowed to do its job. Anurag Kashyap approached Mr Arun Jaitley . But it was made very clear that the government does not interfere in censorship. If Kashyap and his colleagues have their creative freedom the CBFC too has its freedom to do its job.You do your job. Let us do our job.

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Rakesh Roshan: “Everything I  Know  About Acting & Direction, I Learnt From K Vishwanathji”

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Rakesh Roshan

The  mighty moviemaker K Vishwanath who  was to Telugu cinema what  Satyajit Ray  was  to Bengali cinema,  passed  away on February 2,leaving behind a luminous  legacy.

Acto-director Rakesh Roshan  who had  the  rare honour of working  in four projects  with  Vishwanath recalls him with tremendous respect. “Everything I know  about acting and  direction I learnt from  him. He was  a stalwart , an institution, and so passionate about his work. I had the privilege  of being directed  by him in two films Aurat Aurat Aurat  and Shubh Kamna. He would show  his actors  exactly what he  wanted, down to the minutest gesture.His  understanding  of the medium was  extraordinary.”

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Rakesh Roshan remembers how  he  invited Vishwanath to make films for him. “I produced  two films that Vishwanathji directed. One  was Kaamchor, the other was Jaag Utha  Insaan.While the  first was  a runaway success, the second didn’t do well.”

Speaking on how Kaamchor happened Rakesh recalls, “Vishwanathji and I used to meet socially in Hyderabad.We  wanted to work together. But we had  no script.One evening when we met he  looked very depressed. When I asked him what was wrong, he  said his new release Shubodayam  (in Telugu) had  flopped. That  night I went to see Shobodayam  in  a theatre in Hyderabad. The  next morning I  told Vishwanathji, ‘We’ve  found our script’. I told him where  the  storytelling in Shubhodayam  had gone wrong.We corrected the script and that’s how Kaamchor  happened. Although the entire story revolved  around me,  it was Jaya Prada who benefited  from Kaamchor.”

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About the beautiful  Jaag Utha Insaan , Rakesh Roshan admits  bluntly, “It  flopped because  of miscasting. During those days Sridevi was known  in Hindi cinema as a glamorous heroine. We cast her as classical dancer. Mithun Chakraborty had  the image  of  Gun Master G-9 and  Disco Dancer.We cast him as  a downtrodden  underdog. I was  known  for Kaamchor and  other citybred characters,I was cast as a Brahmin pandit.With other actors Jaag Utha  Insaan would have been a superhit”

Rakesh met K Vishwanath six years  ago. “We were shooting for Krissh in Hyderabad. He came on  the set several  times. We  had so much to say to each other. After that we lost contact. He was  very very busy with many projects. K Vishwanathji lived  for his cinema.”

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As His Latest Work Faraaz Releases Today,  Hansal Mehta Speaks To Subhash  K Jha On The Exciting Times Ahead

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Faraaz

Hansal, Faraaz is  your fifteenth directorial  venture. How does it feel to have come so far  with so many  milestones behind you?

don’t count my films. Genuinely. Every film is a new beginning. Every film has its share of uncertainty and nerves. Perhaps it is also because of the choices I make. There is no scope for either complacency or me carrying a false sense of security. I’m not complaining,though. Living life on the edge keeps me going.

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I  consider  Faraaz to be  a part of your great trilogy on  the dynamics  of terrorism, after  Shahid and  Omerta…where do you see Faraaz  positioned  in your creative ambit?

Thank you , Subhash.Faraaz is a film I’m very, very proud of. It was a challenge to pull off, a tough journey but creatively a very satisfying one. As Rajkummar Rao told me after watching the film , the Trilogy is complete now. Time to explore new stories and new characters. And finish post-production for all the exciting things that we shot for over the past eighteen months.

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Out of curiosity which of your films  have given you  the most creative  satisfaction?

Almost every film Shahid onwards has been immensely satisfying , both in terms of process and the outcome. Save a couple that I need not name. But even those I own for all their flaws, failures, deficiencies and redeeming qualities. But Faraaz has been a great process. I’ve made so many new friends in this journey and found some of the most exciting colleagues that I’m proud to introduce through the film. Writers Raghav Kakkar and Kashyap Kapoor (who co-wrote the film with Ritesh Shah), Cinematographer Pratham Mehta, Sound Designer Mandar Kulkarni, Editor Amitesh Mukherjee, co-producers Sahil, Maz and Sakshi – all of whom have given their blood and sweat to make this film happen. And of course Anubhav Sinha one of my oldest friends in the industry who backed me in telling this story just the way I wanted it. So yes, Faraaz has been satisfying and also filled me with a deep sense of gratitude. I must have done something right, no?

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Of course. Faraaz has a lot of young new actors in it. Tell me  about the  process  of  casting in this film? It couldn’t have been easy since there are dozens  of faces?

That was the challenge and the joy of making this film. I worked on the story during Chhalaang and I always knew that it would be a return to my indie roots for Faraaz. The film had to be made. And it needed fresh faces, bereft of image or trappings of stardom. A huge credit to Mukesh Chhabra who has a huge role to play in my filmography since Shahid. We constantly challenge each other and never ever give up. Casting is a process I really enjoy and finding the right talent to bring characters alive is something I thrive upon. Faraaz has an amazing ensemble. Right from Aditya Rawal , Zahan Kapoor, Juhi Babbar to every small character in the film including the officers, parents and the hostages this one is a triumph of honest casting , casting without an eye on profits, simply in service of the film, of the character.

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Faraaz is  about a terror attack in Bangladesh?how  do you respond to those who want to know, why Bangladesh?

In our research of this dastardly attack we realised that here was a story that had a larger message and something very universal to share. Misguided youth taking up violence in the name of religion or a parent’s love for her child or the unexpected bravery from an unlikely hero are themes that cannot be limited by borders, nationality or language. These stories must be told. They must transcend the limitations of perceived local relevance – particularly when our polarised times need such stories to be told to a larger audience.

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In 2020, your OTT series Scam 1992  proved to  b e game changer. Do you see Scam as a turning point  in your career?

I see Scam 1992 as an enabler. We did not expect its humongous success and to say it did not change things would be fake humility. It gave me back a lot of things I had lost in the years before it released. Including some money. And the courage to tell the stories I desperately wanted to. Also exceptional friends and collaborators like Sameer Nair and his Studio Applause.

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Your films  and your  attitude to cinema has always  been fearless. How  do you  cope with the  threat of growing intolerance in our society  vis a  vis your  convictions as a  filmmaker?

It is not new to me. Remember Dil Pe Mat Le Yaar in 2000? The only difference now is that then I was deeply affected by the intolerance to a point of self destruction. Now I channelise my despair and anger into telling relevant stories and through them taking on those who have made it a business to be intolerant.

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To Attend Siddharth-Kiara’s Destination Wedding, Karan Johar Preponed His Twins’s Birthday  Bash

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Siddharth-Kiara’s

For those  who are  wondering why Karan Johar hosted  the grand birthday party for his  twins Roohi and  Yash who will  turn 6 on 7 February,  six days in  advance  on 1  February  here is  why:  on the day of his twins’ birthday,  Karan  will be in Rajasthan attending the wedding celebrations of his dear friends  Siddharth Malhotra  and Kiara Advani who are  getting married on  February 6.

 Reveals   a friend close  to  Karan,  “Karan was in a dilemma. To him there is  nothing more important than his  children’s happiness.  How could he break their hearts by skipping  the most important day of their  lives? At the same time, how could he  not attend Siddharth and Kiara’s wedding ? They are  very close to him.”

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Karan did the best thing possible to resolve the situation:  he put the dilemma before his children Yash and Juhi who happily  agreed  to  have their party  a few days in advance so their ‘Dada’  could  attend  his friends’ wedding.

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The  Big Independence Day Clash To Be Averted?

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Animal and Sunny Deol’s  long-awaited Gadar 2

Sunny Deol, John Abraham  Ranbir  Kapoor  and the Covid Vaccine are all set to clash at the boxoffice this  Independence Day .

While the  Ranbir Kapoor starrer Animal and Sunny Deol’s  long-awaited Gadar sequel  are  both scheduled  for release  on August  11, John Abraham’s  Tariq  releases three days later on August 15.On the same day  Vivek(The Kashmir Files) also  releases  The Covid Vaccine.

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It looks  like  a crowded weekend, with one too many releases for audiences to  choose from.

Apparently  intense discussions are on among the  producers of the four  big films to see how the clutter can be  resolved.

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A  source close to the  development says, “Gadar 2 is the  right fit for the Independence Day weekend. But the producers of Animal  are in no mood to move  from August 13 . John  who is  a co-producer  on Tariq  and Vivek  Agnihotri with his Covid Vaccine  are also adamant  on coming on   August 15.The  Independence Day weekend is  a long  weekend. So let’s see…”

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