54. CENSORSHIP OF INDIAN FILMS
CENSORSHIP OF INDIAN FILMS

54. CENSORSHIP OF INDIAN FILMS

CENSORSHIP OF INDIAN FILMS

During the last half a century or so, the Indian Film Indus- jury has made remarkable progress in artistic and technical excellence From Raja Harish Chandra to Aakrosh.

Indian films have traveled a long way.

And with them have traveled the Indian society and social and moral values.

Any prudent person will ever agree that in their anxiety to produce box office hits and to make haystacks of gold and silver, while the sun of youth and pleasure with unabashed nudity, sex, and violence shines over the younger generations, the Indian producers are crossing all limits.

There is no doubt the Censor Board and its guidelines, and certain vulnerable acts and situations are not depicted. But human ingenuity knows no barriers.

And authors, producers, and actors of films being the top-artists in the country, they circumvent the guidelines of censorship in the most artistic way.

Today, a situation has been reached in which what can be shown on the screen is produced in such a suggestive way, that it becomes more vulnerable, rather inflammatory than that which cannot be shown.

The lure of lucre induces both producers and exhibitors to bid good-bye to art, sacrifice moral and social health and forget the canons of decency and decorum.

There is a tendency to blindly imitate the glamorous American and European films and to purvey to audience things completely exotic.

Short dress and bikini have become a trend, obscene nudity with see-through dresses, display of various curves and curvatures of female anatomy under various excuses and in various postures, sex and how and where to get it and extreme violence and breach of law and order and how to commit these, are the main planks on which Indian film industry today stands.

These arouse the baser human instincts among the younger generations and provoke them to experiment with these.

It appears that forbidden fruit is the only fruit or rather the only eatable left in the Garden of Eden of the Indian film industry.

It is said that Adam and Eve, having been tempted by its sight, tasted it once and it resulted in their fall.

Now, Indian filmmakers are offering their fruit to every Adam and Eve in the making, on a silver tray in the most provocative and inviting form, demonstrating in vivid detail the thousand and one ways of eating it and deriving maximum pleasure out of it.

The result is anybody’s guess.

The viewers are fired with the ambition of repeating and performing for themselves the feats that they have viewed on the screen.

They become anxious to model their own lives on the lines of characters in the film.

So great is the impact of films on young minds that almost every son of Adam is anxious to become the hero and every daughter of his, the heroine.

The movie impacts, young characters’ move along with it. They imagine themselves to be the heroes and heroines of the film.

The movie makes deep impact on our young minds and the phenomena get repeated in our daily life.

They now proceed to take the process to its logical conclusion.

The result is eve-teasing, street romances, house breaks, rapes, kidnappings, blackmail, bank robberies, and terrorism all using the modus operandi seen in the films.

The young boy sees the hero defying and deserting his parents for the sake of his sweetheart, and he defies and deserts them.

The teen-aged girl sees the heroine violating the social norms and enjoying pre-marital sex, having abortions, and running away with her paramour and she runs away.

The growing up girl sees a frustrated heroine committing suicide, and she commits it.

Criminal burglars are inspired by such films and get inspired with ideas involving housebreak a number of times, studies the techniques employed in the film, and may break into the National Museum.

The criminal in the making sees the sophisticated methods used in the commission of crimes and applies them straightaway in his own trade.

The kidnapper sees how to lure the teenagers in the car with the internal handles removed, on the promise of a lift, and takes his chance in the heart of the capital.

The pervert sees how to commit rape and repeats the performance at the next opportunity.

The killer sees how to kill neatly and put on innocent looks and becomes a ripper.

A smuggler sees the highly organized network and the sophisticated equipment employed by the smugglers and employs these tricks in his own trade and thrives.

One wonders what nefarious activity is not being taught by the Indian Cinema.

And all this is being done in the name of art and educating the people about the goings-on so that they are enabled to protect themselves.

The only trouble is that the people who utilize the knowledge and techniques learned through cinema for the advancement of their ulterior motives are much more than those who use these for self-protection.

It is difficult to find filmmakers like Basu Chatterjee, to see a person, who sees a new subject in the daily field in the films and does not apply it in his or her daily life if he or she can.

I wonder, is there a crisis of talent? Or vulgarity has overtaken the country? Children are going astray. The youth is restless.

Violence erupts at the slightest provocation, or even when there is no provocation at all.

Law and order have become a serious national problem.

There is, therefore, no doubt, that this situation needs immediate remedial action by way of containing the evil influence of the present trends in Indian Cinema.

This can be done only by effective censorship and not merely the present type of guidelines censorship which makes things more vulnerable.

It is high time the Government and the social organization rise to the occasion to tackle the problem seriously before the things go completely out of hand.

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