This book is a no-holds-barred debate on
film censorship as it exists today. Derek Bose has dexterously woven together and juxtaposed two opposing viewpoints on censorship in today's milieu. To begin with, he chronicles the sharp dichotomy between those who strongly believe in the freedom of speech and those who believe in
moral policing. Bose then extends this dichotomy to the world of film-making and to our very own Bollywood. And in so doing he urges the reader to dwell upon the rationale and relevance of the CBFC (Central Board of film certification) in today?s world. The Bollywood film-watching public is a confused lot today. They read reports about
Censors snipping objectionable footage and yet they are treated to
films where sleaze, erotica and violence abound. This is surprising as the Indian film censorship code is the most restrictive in the world. So how do the 'Item numbers' with scantily clad women (or men) and risque lyrics sneak past vigilant censors. Bose details the subterfuges used by the film-
makers to get their way. He makes out a case study of the song? Choley ke peeche kya hai?. The well-publicized censorship and moral furore generated by this song worked wonders for Subhash Ghai's film 'Khalnayak' which become a box-office bonanza. Mujra, Holi festivity, tribal rituals or rape are the stock ploys used by film-makers to add an erotic lustre to their films and set the cash registers ringing. He also highlights the fact that the censor board is a toothless tiger which has the power to cut through objectionable footage but no power to ensure its implementation. This is so because the censors have no control over media like the television or the VCD's which unabashedly use this footage. Bose has presented a large number of case studies to substantiate his viewpoint. He has added photographs from controversial films and censor board notes on cuts to strengthen his argument. The book is also a rebuttal of the peculiar theory propounded by certain pro-censorship moralists who believe that scenes of sexual depravity or mindless violence in films would push impressionable Indians into a world of crime. This is no doubt a convenient stick to hit anti-censorship lobbyists with but as a credible theory, it leaves a lot to be desired. This book raises disturbing questions about subjective censorship, moral policing by the state, flaunting of censorship guidelines by film-makers, role of public et al. The book, in fact, ends up convincing the reader that scrapping of censorship would not be a great loss. In fact, a surfeit of titillation and an easy access to erotica might just take away the charm of the forbidden and have a salutary effect on the media players and public at large. For those who think this may lead to complete moral upheaval, it may be pointed out that censorship code is not the only weapon in the state?s arsenal to deal with rogue film-makers. Alternately, a self-regulatory mechanism of censorship could be established where censors act as advisors.
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