"Cinema, control and censor - navigating the politics of films" [ by Abhay Pandey]

Cinema, control and censor - navigating the politics of films 

The recent uproar surrounding the web series 'IC 814' by Anubhav Sinha and the film 'Emergency' by Kangana Ranaut brings to light the intricate relationship between politics and cinema. The controversy over the 'Emergency' trailer, which eventually landed at the censor board and stopped from securing certificate, highlights the ongoing issue of censorship. 

This raises important questions about how cinema, as a form of artistic expression, is often shaped or restricted by political agendas. The censorship process, rather than being an impartial gatekeeper, frequently mirrors the political climate of the time. This dynamic, in turn, affects the content that reaches audiences, shaping public discourse and perspectives. Through this lens, we see how deeply intertwined cinema, politics, and censorship truly are.

Cinema as a Mirror : Reflecting societal issues 

Cinema mirrors social, political, economic, and cultural issues, providing a lens through which we can understand societal developments. It draws inspiration from prevailing trends and social patterns, while also leaving a lasting impact on society. Historical political events have often become content for cinema, just as popular films have been used to influence voters and promote political agendas.

In recent times, a notable trend in both politics and cinema is the portrayal of hypermasculinity in society. We often see statements by many leaders which set the narrative of strong masculine physical power to do work. This reinforces the idea that a leader must not only demonstrate strength through actions but also embody certain physical and aggressive traits.
Now we see in the world of cinema , hypermasculinity and the alpha male archetype dominate. Movies like 'Animal', one of the biggest blockbusters of the year, promote toxic behavior and misogynistic attitudes. Audiences cheering for these types of movies encourage filmmakers to produce more of the same. 

Issue of sexism in society shaped through sexism forms portrayed through cinema. Female characters in films are reduced to their physical appearance and their role revolves only as love partner of hero. item songs which often feature scantily clad women dancing reinforces this objectification. Promotion of traditional gender roles where women are expected to nurturing and subservient.  Movie like kabir singh portray a toxic male protagonist whose controlling behavior over his love interest is justified under guise of love and passion. 

Films like 'Pushpa' , Animal , and Mirzapur series and some scenes in  'Kantara' prominently portray violence. These films give viewers a sense of justification for violent behavior. people do commit violent activities inspired by their so called filmy heroes . Characters in movie who commit act of aggression are shown as heroes whose actions are justified . There is also a revenge narrative in movies , characters choose violent path to take revenge and there is no law and order in movie . So many people in the society choose this path to instant take revenge or to change their present situation. They think of themselves as hero in their own life and they have only power to change it and no one will interfere. A memorable line from the movie 'Gangs of Wasseypur' goes, "Sab hero banna chahte hain apni film mein. Jab tak Hindustan mein cinema hai, tab tak hero bante rahenge" ("Everyone wants to be the hero of their own movie. As long as cinema exists in India, people will keep becoming heroes"). This line highlights the disconnect between the messy reality of violence and how it is glorified as heroism in cinematic characters.

 Political influence in cinema : shaping narratives 

"Cinema mirrors society of the day, all good but complexities arises when cinema mirrors the power of the day rather people "

Political parties and leaders sometimes use cinema as a tool to spread their ideologies and connect with the masses. There is nothing inherently wrong with this; in fact, it can be an effective approach. Some movies, without any direct political intention, address social issues, and politicians may later leverage         films to serve their interests. They get benefit of the good perceptions in the minds of citizens manufactured through celebrated movies or songs.                                                                                               A highly celebrated film like , 'Mother India' (1957) promotes resilience and the spirit of India , aligning with the nation-building agenda by emphasizing unity in diversity. Films such as 'Naya Daur' (1957) and 'Do Bigha Zameen' (1953) explored themes of social justice, land reforms, and industrialization, reflecting the socialist ideologies of Nehru's era.  More recently, movies like 'Toilet' (2017) and 'Padman' (2018) supported government initiatives like the Swachh Bharat Abhiyan. Iconic films like 'Deewar' , starring Amitabh Bachchan, depicted the "angry young man" disillusioned by the political system, helping raise public concerns to a broader platform. 

Now coming to complex problem of how leaders parties uses cinema as a medium of their political agenda .  Agenda movies where semi truth with dramatic and emotional storylines serves to public for a  particular cause and gaining support. 

In regional cinema, politics often plays a more direct role. For example, Tamil and Telugu cinema saw the Dravida Munnetra Kazhagam (DMK) using films to promote its ideologies. Leaders like MGR, Jayalalithaa, and NTR used cinema to craft their political images, which eventually led them to the position of chief minister.

In recent times, some movies have embraced a nationalist perspective, often featuring themes like historical revisionism, national security, cultural pride, and strong leadership. Films such as The Kashmir Files (2022); 'The Kerala Story' ; 'Bastar' and 'Uri' (2019) were endorsed by the current government, as they aligned with its political objectives. While these films are based on certain historical facts, they have significantly influenced society, shaping perceptions, ideologies, and interpersonal relationships.

Biopics like 'Thackeray' (2019), 'PM Narendra Modi' (2019), 'The Accidental Prime Minister' , Article 370' (2024), and 'the vaccine war' were released around election years, likely to serve political interests.

We often witness such discourses in our surroundings but choose to overlook them. A dialogue from the movie 'Satta' sums this up perfectly: "Satta ka nasha hai, sab kuch dikhai deta hai, par koi dikhai nahi deta" ("The intoxication of power shows us everything, yet we see no one)

Creative Liberties and Historical Distortions in Film

Movies have their own requirements—dramatic presentation, specific agendas, and the use of creativity to achieve cinematic success. Filmmakers often take creative liberties when portraying historical or political events, blending fact and fiction to enhance the drama, appeal to audiences, or align with particular narratives. While this makes films more engaging, it can lead to the distortion of facts or a selective presentation of events. 

For example, in the recent movie 'Adipurush' by Om Raut, the traditional portrayal of Ramayana characters was altered to resemble Hollywood-style interpretations. Similarly, political films like 'The Kerala Story' and 'The kashmir files' were crafted to evoke strong emotions and support a particular agenda, but they overlooked other important aspects of the conflict. 

Another example is 'Jodha Akbar' (2008), which portrays Emperor Akbar as a tolerant, secular ruler who integrates Hindu culture into his court. However, such portrayals can be altered idealized versions of history. 

In the recent trailer of 'Emergency', there's a dialogue where Indira Gandhi says, "India is Indira and Indira is India." In reality, this phrase was coined by D.K. Barooah, the Congress president in 1977, not by Indira Gandhi herself.

Censorship and political backlash 

Movies that critique the government or expose social evils often face political backlash. A famous example is the satirical movie 'Aandhi' (1975) by Gulzar, which portrays a female political leader. The Congress party claimed the film was an attack on India and disrespect to prime minister Indira. Actually the government misinterpreted the movie, there was nothing similarity with congress. Following the Emergency, the movie was banned six months after its release. However, the Janata Party re-released it in 1977. Another film, 'Kissa Kursi Ka' (1977), was banned by the government, and its prints were confiscated by sanjay gandhi. This movie is one of the best classic political satire on indian politician. 

Even singers faced indirect censorship; for example, in the 1970s, Kishore Kumar's songs were banned on the radio after he refused to attend a function organized by Sanjay Gandhi.

State governments also exercised their power to ban films. Movies or documentaries related to the Gujarat riots, such as 'Parzania' (2005) and 'Firaaq', were banned in Gujarat, despite winning two national awards.

Recently, the trailer for 'Emergency', directed by Kangana Ranaut, a highly acclaimed actress with multiple national awards and a BJP MP from Mandi, has sparked controversy. Several Sikh groups have called for a ban on the movie due to its portrayal of the 1984 anti-Sikh riots, Operation Blue Star, Bhindrawale, and the assassination of Indira Gandhi by her Sikh bodyguards. However, these events are integral to any comprehensive depiction of Indira Gandhi's life. Due to political pressure ahead of assembly elections in Haryana and Kangana's few controversial remarks, the censor board hesitated in clearing the movie. It serves as a reminder that politics often involves compromise, and the BJP seems to be applying this philosophy even with its own Member of Parliament.

 The Future of Cinema: Balancing Art, Politics, and Freedom

Movies are a powerful medium through which society expresses its concerns and dissent toward political and social system . A famous dialogue from 'Indu Sarkar' goes, "Mera naam Indu... poora naam Indu Sarkar. Sarkar, lekin main sarkar ke saath nahi hoon," highlighting the tension between individual beliefs and political power. However, we often see that political narratives, agendas, and interests have co-opted the platform of cinema to serve their own purposes. As a result, our responsibility as the audience grows—we must counter these narratives through education, awareness, and the development of critical thinking, rather than blindly accepting any single viewpoint.

Censorship in cinema, often driven by political or ideological motivations, stifles creativity and limits the ability of films to challenge societal issues. This creates a culture where only certain perspectives are allowed to thrive, while others are suppressed. It is crucial for both filmmakers and audiences to push for artistic freedom and engage with films thoughtfully, analyzing the broader social and political contexts they depict.

As the iconic dialogue from 'Om Shanti Om' reminds us, "Picture abhi baki hai, mere dost"—the story is far from over. This perfectly captures the ongoing nature of political discourse and the role cinema plays in shaping and reflecting it. The conversation between politics, cinema, and censorship continues, and it is up to us to ensure that diverse voices and narratives are heard and appreciated, without falling victim to manipulation or suppression.