ThelanguageusedinTabrezNooranisLove Sonia, afilm thatpurports to blow thelid on child trafficking in India, isrepellentto the point ofrendering therawness emasculated. It is meant to be the languageofauthenticity, But instead endsup showing reels and reamsof repugnant sadism and torture.
But apparentlydirectorTabrezNooraniwhowas part of another exploitativevoyeuristicdramaSlumdogMillionairepeddling porn-poverty , convincedthe Indiancensor boardsTribunal to releaseLove Soniain all its filthy glory.
Now,Ihave nothing against charactersgivinggaalison screen,if the situationdemandsit. But when done repeatedly and insistently in tones that suggestthat suggest the defianceofa 6-year who willdosu-suin the bed just to torment Mommy,knowing she will clean up next morning ,then its time to thinkoftheGwordno, not glory, but gratuitous.
We all knowprostitutes, now termed sex workers,lead hard lives. Films like B R ChoprasSadhana, GulzarsMausam,ShyamBenegalsMandiandLekhTandonsDoosriSitahavshoweda genuineconcernforthe rehabilitationof sex workers.
InDear Soniatheverbalvenom gets in the way of any sincerity onthe directors part making this thefilm with the maximum number ofexpletivesmeant to shock us. But after you hear the mother andsisters private being publicly abused for theumpteenthtime, shock turns into disgust.This kindof garbage-spewing inthe name of authenticity istheoldest trickin thebook to get dirty.
While the Tribunal branchoftheCBFC, known to go notoriously against the decisionofthe CBFCs Examining Committee and Revising Committee , has givenLove Soniyasabusive soundtrack aclean chit,aprominentmemberofCBFCsaysthe decision to upturn the Revising Committeedecisioncould provesuicidal.
We at theCBFCasked for several verbalcutsinLove Sonia. There isa major difference between appropriate languageand dirty language. Just because the women inLove Soniaare prostitutes theydont have to keep reminding us of where they come from.We weretotally opposedto thegutter-level language and suggested several cuts at points in the narrative the whereMaa-Bahenprofanities seem to impinge rather than enhance theplot and characters.But the Tribunal decided to be liberal. Thereisdifference betweenbeing liberal and being foolhardy, says a self-admittedly sickenedmemberofthe censor board.
A filmmakerwho has recently come away with ataste of the CBFCs newly-retrieved liberalismfeels thenew set-up attheCBFCis bending backwardstoreverse the earlier censor chiefs over-sanskariimage. AfterPahlajNihalani,PrasoonJoshi is eager to portray a new progressive image for theCBFCeven it meansletting filthwalk by his range ofvision.Insteadof focusing on lettingfilmmakers get away with profanitieswhy doesnt he try to ensure films are not certified at the eleventhhour?
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