Filmmaker Tigmanshu Dhulia recently addressed the topic of censorship in Indian cinema, shedding light on how filmmakers have historically navigated political limitations, from the era of the freedom struggle to his own experiences with the film “Raag Desh.”
During a discussion organized by The Wire titled “State of Media and Film Industry,” Dhulia reflected on how filmmakers during the independence movement subtly communicated political themes in their works, often evading the scrutiny of British authorities. He noted, “During the freedom struggle, filmmakers crafted their narratives in such nuanced ways that British officials were largely oblivious to the underlying messages.”
As an illustration of this, Dhulia referenced the film “Chal Chal Re Naujawan,” directed by Gyan Mukherjee in 1944, which included contributions from writer Saadat Hasan Manto and composer Ghulam Haider, and featured Ashok Kumar. “The cultural landscape was cosmopolitan, and the British failed to grasp the significance of what was being portrayed,” he remarked.
Dhulia also reminisced about “Kismet,” a 1943 film starring Ashok Kumar that included the well-known patriotic anthem “Door Hato Ae Duniya Walon, Hindustan Hamara Hai.” He explained, “During World War II, the British misinterpreted the song as being critical of the Japanese, who had invaded Burma. They were unaware that the song was actually a direct commentary on their own rule.”
He emphasized that the dynamic between filmmakers, the government, and political dissent remained intricate even after India gained independence. Dhulia recounted the incident involving actor Balraj Sahni, who was arrested during the production of “Hulchul” in the early 1950s. Sahni, associated with the Indian People’s Theatre Association (IPTA), portrayed a jailer in the film. “He was delivering a speech when he was taken into custody in Mumbai,” Dhulia explained.
This arrest posed challenges for producer K. Asif, as the film’s set was already constructed, and Sahni’s absence threatened financial repercussions. “Asif approached the Governor, demonstrating the leniency of that era. They permitted Balraj Sahni to leave jail for his morning shift. He would go to the set, don his jailer costume, perform, and then return to prison in the evening. That was the reality of that time,” Dhulia recounted.
He also discussed the controversy surrounding Dilip Kumar’s film “Ganga Jamuna,” specifically regarding a scene in which Kumar’s character utters “Hey Ram” as he dies. The censor board objected on the grounds that Kumar, being a Muslim, should not say such a phrase. Dhulia noted, “The filmmakers argued that Dilip Kumar was portraying a Hindu character named Ganga, who could indeed say ‘Hey Ram.’ However, the censor board remained unconvinced.”
This issue eventually reached Prime Minister Jawaharlal Nehru, who screened the film and found no fault with it. However, Dhulia pointed out that there was concern that if other films stuck in censorship were not approved, it might look like Kumar received preferential treatment due to his connection with the Prime Minister, leading to the approval of those films as well.
Dhulia then drew parallels between those past experiences and his own challenges with censorship while working on “Raag Desh” in 2017. The film, sponsored by Rajya Sabha TV, focused on the trials of Indian National Army officers at the Red Fort. He shared, “When presenting ‘Raag Desh’ to the censor board, the members embraced me and did not request any cuts. I had conducted extensive research for the film, and they praised my work.”
“However, the film was subsequently halted,” he added, expressing his frustration over the lengthy wait for his payment, which came six or seven years later after much effort on his part. Regarding the film’s release, he noted, “It was rushed into release. They could have aired it on Doordarshan, yet it remains unavailable to this day.”
Ultimately, “Raag Desh” was released in July 2017.
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