It is that time of the year when publicity hungry groups go chasing movies they want to ban. Two years ago, it was those who wanted Vishwaroopam to be bannedbecause it affected their sensibility and hurt their sentiments, now it is another set of groups who want PK to be banned because it hurts their sensibility and sentiments. At a very fundamental level, the two sets of groups, despite their affiliations, are similar. What do they want – they want the world to be re-imagined in their own narrow, humourless, intolerant, uniform, black and white view of what is acceptable and what is not. Furthermore, there is this deep rooted arrogance that they are God’s spokespeople and God, for some unknown reason, requires their intervention. If anyone even remotely believes that this is linked to faith or devotion, they would be mistaken. This is linked to piggy backing on a more famous brand name (God, Religion, Stardom) for interested parties to make a name for themselves and establish themselves as a source of unelected power and influence.
Do people have the right to protest – indeed they do. Can people protest about a film that they dislike? Of course. But do people or groups have the right to prevent others from watching a film – a very emphatic no. A film bothers you – don’t watch it. A book bothers you, don’t read it. A piece of music offends you, don’t hear it. There is nothing and no one forcing someone to consume any artistic product. On the other hand, the groups that protest, try and force the State to ban a film; or prevent an author from a public gathering; or prevent the performance of a play; or ask for a book ban; thereby depriving others of consumption, by threat of creating a law and order situation – do try and force the rest of the world to accede to their wishes. This is intrinsically undemocratic and also goes against a civilizational ethos of not just pluralism, but also dissent. People have the right to express their creativity and their point of view, without threat from outraged hordes.
Protest against PK in Jammu. PTI
Last year, while writing about the outrage over multiple things (including Vishwaroopam), I had written this:
Goethe, the German author, poet and dramatist, observed that the “There is nothing more frightening than active ignorance.” It is a quote that comes to mind every time there are protests about books, authors, paintings, films, music – in short ideas and concepts. Most who protest have neither read, nor seen, nor experienced the object of their outrage. They believe that the idea has profaned what they hold in great esteem. And, they think, therefore, that they have the right to silence this ‘offending’ view so that no one gets to experience it. John Stuart Mill, in his seminal work “On Liberty” (1859), termed this behaviour of wanting to silence a particular view, as evil. He said “The peculiar evil of silencing the expression of an opinion is that it is robbing the human race; posterity as well as the existing generation; those who dissent from the opinion, still more than those who hold it. If the opinion is right, they are deprived of the opportunity of exchanging error for truth: if wrong, they lose, what is almost as great a benefit, the clearer perception and livelier impression of truth, produced by its collision with error”.
The government must send out a stern message to all those who are protesting against the film (or any other work of expression). You have the right to protest and the government will defend it. But break the law, and you will go to jail. Vandalism, threats, and trying to shout down the rest of the population will not be tolerated. The message needs to go out loud and clear, for the more these groups are emboldened by inaction, the more they will thrive.
Ajmal Kasab had just turned 21 when he and his fellow band of terrorists attacked India on 26 November 2008. He was 18, when he began his descent into crime and terror.
The youngest unnamed accused in the horrific Delhi gangrape case was just a shade under 18, when he participated, willingly, in the rape and murder of a young physiotherapist. He was supposedly the most brutal of all the rapists on the bus, that fateful night. While the system calls him a ‘juvenile’ and in all likelihood will set him free, there is general revulsion at the thought of someone like him being free to walk around to commit the same crime again.
Both Kasab and the unnamed juvenile were born in poor families, grew up in a world where others took to petty and not-so-petty crimes, and were exposed to influences that could lead them astray – yet most people do not use their age, their background or reduced circumstances as an excuse for their horrific behavior.
Sanjay Dutt was 33 years old when the Mumbai Police discovered that “the actor had acquired AK-56s from Dawood Ibrahim’s brother Anees Ibrahim, and had even had one destroyed after the serial blasts in Bombay that left 257 people dead.”
Yet it seems like a large part of the film and political fraternity are calling for him to be pardoned. Here is a man who willingly took possession of arms that would be used against his fellow citizens. He tried to cover this up, and yet people are calling for his pardon. There is a very sophisticated publicity exercise in place that wants to make Dutt seem like a poor little lost boy, entrapped by circumstances and an unwilling participant in an escapade that went wrong. The truth is different. He was a grown up, who knew what he was doing, and kept quiet when a single phone call (even an anonymous one) could have saved over 250 lives.
So, what makes Sanjay Dutt special?
Born to Bollywood nobility – his mother was Nargis, father Sunil Dutt – brought up in the lap of privilege and wealth, Sanjay Dutt could have been anyone. He was given a dream film debut by his father in the film Rocky, he worked with the biggest directors in Bollywood, his friends were the A-list in tinsel town, fans loved him, the box office welcomed him and he had the world at his feet. You would think that a man born into such a background and who achieved success would do something useful and meaningful with his life. He didn’t. His early career in Bollywood was marked by absences, late coming and general bad behavior. So much so that he began losing out roles to relatively unknown actors (Sanjay Dutt was the first choice for the film Hero, that later propelled Jackie Shroff to stardom. The story goes that Subhash Ghai was so put off with the unprofessional behavior of Sanjay Dutt that he had him replaced). All this changed with the 1993 Mumbai blasts and the subsequent arrest of Sanjay Dutt under TADA.
Unlike the West where people, even stars, are penalised for their bad behavior, India seems to love its bad boys. Robert Downie Jr, Mel Gibson, and a host of others have lost roles, lost endorsements when they got embroiled in controversy. Mel Gibson for being a drunk racist, Downie Jr for a drug habit that led him to serve jail time – there was punishment beyond what the legal system mandated. There was ostracisation and a loss in earnings. But over here, the moment a star gets into trouble, he becomes more salable. Sanjay Dutt got better roles after his arrest, and he is not the only one. It is almost as though advertisers and film financiers believe that sleaze will sell.
Today, when people who should know better are appealing the Governor to pardon Sanjay Dutt, they need to understand that they are giving their blessing to delinquency, to irresponsibility, to acting in an anti-social manner and a support of terror.
“He is a nice man” goes the refrain. How many nice people do you know who store automatic weapons and grenades capable of causing carnage? Then there is the refrain that says he was too young. At 33? When leaders like Digvijaya Singh put out statements that say, “Sanjay Dutt is not a criminal, he is not a terrorist. Sanjay Dutt, at a young age, in the atmosphere of that time, thought that perhaps the way Sunil Dutt had been raising his voice against communalism and favoured the minorities, then perhaps he could be attacked,” they are making excuses for terror.
What do you say to all those people who are minorities, or favour minority rights and would never think of going down the path of violence or terror? Indeed, what do you tell people whose family members have been arrested and convicted for terror – that it is excusable because they thought they were in danger? Is this the same approach to dealing with Maoists who believe that the only way they can get heard by the State is by committing acts of terror?
The last excuse is that Nargis and Sunil Dutt were patriots and deserve better. The head of the Press Council of India and former Supreme Court judge Markanday Katju says, on why Sanjay Dutt deserves a pardon: “His parents Sunil Dutt and Nargis worked for the good of society and the nation. Sunil Dutt and Nargis often went to border areas to give moral support to our brave jawans and did other social work for the society.”
This is an easy statement to agree with. Sunil Dutt and Nargis Dutt did deserve better, and their son let them down. Not the system. It is because he is their son that he is only facing just 5 years in prison, not a lifetime. Imagine if an ordinary boy named Sanjay Dutt, whose parents were not popular film stars, had been found with the weapons cache. Would the outcry be the same?
Bites the hand that feeds him – screamed the headline on Firstpost.in on Shah Rukh Khan, reminding me of Sholay. Had discussed the film with my class this morning, and the film was kind of fresh. The introductury scene of Gabbar, he is ranting at his 3 men for losing to those two. In the most chilling part of the scene – Gabbar pulls out a gun and plays Russian Roulette with his defeated men. He asks of one of them (Kalia)
“ab tera kya hoga kalia?”
This entire concept of namak khana, biting the hand that feeds them – is so incredibly – how does one put this nicely ? – feudal.
The fact that the author loathes SRK is fairly evident, what is more is that this loathing seems to have overcome any half decent form of accuracy. Hey, i know opinion pieces are meant to be opinion, but even opinion is based on a modicum of fact. Some samples :
More importantly, he was embraced by a generation of Indians who were evidently so swayed by his looks (or whatever else they saw in him) that they readily overlooked his vacuous performances, blessed him with fame and fortune – and even went on to crown him ‘King Khan’.
(embraced across generations – not preteens anymore – but pretty much the rest, and especially women)
At the peak of his career, Shah Rukh was spoken of in the same breath as the Shahenshah of Bollywood, Amitabh Bachchan. That comparison may have been valid in terms of the box-office appeal that both held, but a certain indefinable element of classy refinement that Bachchan exuded even when the cameras were not whirring remained forever out of reach of SRK.
subjective – and therefore one will not comment on it. biases are allowed. I have mine, am sure the author has his. Except that in the last year – SRK was the highest earner in Bollywood, not someone past the peak of his career.
In his eternal quest to be the ageless Peter Pan of Bollywood, Shah Rukh appears not to have come to terms with the fact that while once he may have commanded a forgiving fan following, he is well past his prime. Like the Norma Desmond character that Gloria Swanson essayed in Billy Wilder’s Sunset Boulevard, he is only clinging on to the memories of a happier day when the arclights were turned on him and the adulation of fans enveloped him in a warm, glowing embrace.
good lord, this person obviously neither watches Hindi films nor follows box office reports. Norma Desmond, incidentally, is the lead character in Sunset Boulevard, a silent era star, and who, in the film, hasn’t been seen since the coming of sound. SRK’s last film – the unintentionally funny – Jab Tak Hai Jaan – was one of the 8 filmsthat crossed the 100 crore mark in theatrical revenue in India & twice that in overseas territories- (that means that many tickets were sold).
So, by every verifiable metric, it’s fair to say that Shah Rukh Khan has enjoyed more success – and earned more fame and fortune and fan-love – than he arguably deserves. Which is why it’s difficult to account for the victimhood chip – rooted in his identity as a Muslim – that he bears on his shoulders.
Who decides who deserves what ? He doesn’t deserve this on what parameter ? Has the author seen other super stars – desi and hollywood and their performances ? Does a Tom Cruise deserve success ? Superstars bring people to the theaters, they create value all down the value chain.
And, the author’s grouse :
In an interview that he gave to an overseas publication, Shah Rukh Khan is quoted as saying that he “sometimes become(s) the indvertent object of political leaders who choose to make me a symbol of all that they think is wrong and unpatriotic about Muslims in India.”
Now, which part of inadvertentdoes the author want explained ?
this is a translated version of what was written in Samnaafter SRK suggested that Pakistani cricketers play in the IPL (for the record, i don’t support that or indeed them being cast in films or tv shows)
Shiv Sena chief Bal Thackeray on Saturday said Kolkata Knight Riders co-owner Shah Rukh Khan should be given Pakistan’s highest civilian award, the Nishaan-e-Pakistan, for supporting the inclusion of Pakistani cricketers in the IPL.
Thackeray said in his party mouthpiece Samna that the ‘Khan’ inside Shah Rukh Khan must be crushed by the ‘Har Har Mahadev’ war cry.
The author goes on
It’s true, of course, that your films have had their problems with Shiv Sena leader Bal Thackeray, who kicked up a shindig by protesting against your film My Name Is Khan on specious grounds.
The Shiv Sena did not have a problem with the film “My Name is Khan”, they had a problem with SRK statement regarding IPL and wanted to take it out on My Name is Khan in retaliation (btw i have seen the film and it is mawkishly sentimental) And this is what SRK said , that got him into trouble
“They are the champions, they are wonderful but somewhere down the line there is an issue and we can’t deny it. We are known to invite everyone. We should have. If there were any issues, they should have been put on board earlier. Everything can happen respectfully,”
And, incidentally this is what Shilpa Shetty (another team owner, whose name is not Khan) had to say about the same issue:
“If you ask an Indian whether he would like to see Shahid Afridi play in our country, he would say yes. But you must look at it pragmatically and see that we have had these people who are constantly threatening.It’s not something we hold against the Pakistani players. We completely understand the situation but as franchise owners are we willing to take that risk? If something happens to the Pakistani players, the onus lies on us and who is going to take responsibility for a situation like that,”
And this is what Preity Zinta (another team owner, whose name is also not Khan) had to say about the Pakistani Players in IPL
”We would have loved to have the T20 world champions in our teams to bring real joy to the extravaganza but what can we do if we have certain threats about not only our own safety, but the safety of the Pakistani players too, with no official quarter assuring us of foolproof security of players during the tournament,’
Therefore, given the same event IPL, to be held post 26/11, with three star owned teams – if you eliminate all other factors – the only one left is that they picked on SRK because he is a Muslim. (it could also be because he is a man, but i dont think that he SS would eliminate 50%+ of their voters)
And it continues,
So, grow up, Shah Rukh, and learn to take it on the chin like a man. Don’t bite the hand that fed you – and made you who you are – by running off to an overseas publication and crying your heart out, thereby providing the space for low-life terrorists like Hafiz Saeed to take potshots at India.
On SRK Being resposnible for Hafeez Saeed’scomments, it would be good to read the whole piece and figure where that comment came from. I daresay it was from mangled headlines from the MSM. In which case, i wonder who is responsible for Hafeez Saeed’s comments. Also, what is this with treating Hafeez Saeed’s statement as being important, instead of dealing with it with the contempt it deserves – what do people expect from Hafeez Saeed – Kudos for India?
On his being inebriated and badly behaved – sure – he is human. And,a flawed one at that. Where he attacks people who cannot fight back – like the security guard in Wankhade, please take him to task. When it is with other, equally successful, members of the film industry, let them sort it out.
I can criticize India, the armed forces, decisions on hanging terrorists or not, Pakistani Players or actors in India, peace with Pakistan and the rest of it – and not once (mabye once) there will be calls for me to move next door. People may question my logic, my intellect, my wisdom, my credentials – but not my right to be in India and make those comments. SRK has those rights too. He is a citizen and like all citizens has the right to critcize the system without having to prove his love for the country every time he does so.
Finally this is neither about the Indian state, nor the people of India, nor the great Indian paying audience – couldn’t care who was what religion so long as they sell tickets. It is not even about political parties, apart from those like the Shiv Sena – whose stock in trade this is. People from across the political spectrum came out to support SRK, when the Shiv Sena went on that blistering attack on him.
“We do not consider it correct to use such terms for Khan. His contribution to Bollywood and as a cultural ambassador is immense,” Ravi Shankar Prasad of the BJP, contradicting their ally in Maharashtra to defend SRK. .
This is rather a comment on the Indian media, who takes things out of context to raise passions, then when those passions are raised – whether it was in terms of misquoting SRK on IPL or in this current case, or indeed anyone else – use those raise passions to attract more eyeballs. Am not sure that this is meant to be the role of the media – to stir the pot and wait for people to get at each others’ throat.
I am not the world’s greatest SRK fan. there are films that i have enjoyed, films i have loathed and films i have not even bothered to watch. But, thisis a hatchet job. And, a badly researched hatchet job at that. I am not sure what bothers me more.
(declaration : I have neither met SRK, nor worked with him, or have pitched to him, or likely to – we are completely in different universes) ..
This, incidentally, is the piecethat firstposthad issues with. and, it is a wry, funny piece on what it means to be a Khan …
My blog for Tehelka, last week. Yes, Maachisshould have been on the list
Zero Dark Thirty has hit the screens to much controversy, debate, acclaimand box office success. The film deals with the decade long hunt for master terrorist Osama Bin Laden The film is a fascinating study in looking at shades of good and evil. There is a thin line between the two, and those who fight terror have to work very hard not to slip over to the other side. This battle is not just between ideologies or good and bad, but is also the battle within. How far do you go to keep innocents safe? This is a theme that has been looked at multiple times in movies.
Bollywood films too have looked at the issue of terror and the fight against terror. Some are out and out jingoistic, others unbelievably fantastic, yet others pure entertainment. Few have looked at the contours of terror realistically. Here in no particular order are five of the most realistic Hindi films, that use the fight against terror as a backdrop
Drohkaal- possibly one of the best films in contemporary Indian Cinema, that looks at the issue of terrorism. Directed by Govind Nihlani, the film looks at the shades of grey that come into play in dealing with terror. Set against a backdrop of an unnamed terror organization (most likely Naxal) unleashing violence against civilians. Two policemen DCP Abhay Singh (Om Puri) and DCP Abbas Lodhi (Naseeruddin Shah) plant agents in a group led by Comarade Bhadra-Ashish Vidyarthi in a National Award Winning performance. The cat and mouse story between the hunter and the hunted is a fascinating one and the end is a twist in the tail.
A Wednesday – written an directed by Neeraj Pandey, the film went on to become a box office superstar, purely based on word of mouth. The film tells the story of a retired cop , played by Anupam Kher, and his last big case that takes place on a Wednesday. A man, played by Naseeruddin Shah, plants bombs across the city of Mumbai and threatens to detonate them unless jailed terrorists are freed. Who is this man, what is his agenda and will he get away with it? The film is a taut thriller, and one reason why it was such a hit – apart from the brilliant writing and performances – is that Naseeruddin Shah’s character resonates with most of us.
Black Friday – In 1993, bombs ripped through Bombay (as it then was) destroying buses, buildings,people disintegrated, yet others were maimed and injured. . Hundreds died, many more injured and it left the city numb with rage, grief and disbelief. Anurag Kashyap’s film based on the book by Hussain Zaidi tells the story of the blasts (and its investigations) from different perspectives. Raw and gritty, the film makes for compelling viewing.
Sarfarosh – looked at the issue of cross border terrorism (read Pakistan sponsored terrorism) and the attempt of honest young ACP Rathod, Aamir Khan, to put together a crack team that fights terror. On the other side is Naseeruddin Shah, who has possibly acted in 80% of all films on terrorism, who plays a ghazal singer and terror conduit Gulfam Hassan. The film directed by John Matthew Mathan has just one flaw – a mawkish love story that does nothing for the film. The film has a fine cameo by Mukesh Rishi- who plays Inspector Salim
Roja – The film made in Tamil was dubbed into Hindi and became an all India hit. It forms the first part of Mani Ratnam’s trilogy on terror, with Bombayand Dil Sebeing the other two. Mani Ratnam’s greatest strengthwas the telling of the stories of ordinary people. Roja (Madhoo) is a young woman from rural Tamil Nadu whose husband is a government employee who is kidnapped in Jammu & Kashmir. The story follows a parallel track, the husband’s (Arvind Swamy) interactions with the terrorists on a daily basis, and the interactions of Roja with the government machinery in getting her husband freed. Pankaj Kapurplays the head of the terrorist cell, Liaqat, with a tremendous amount of empathy. The film also boasted a great soundtrack by A.R.Rehman.
Which films, with terror as the backdrop, are in your top 5 ?
This is an old story that exists in many cultures in slightly varying forms. And, despite its folksy nature, it still holds lessons for today – be it in interpersonal conduct or in international relations.
Once upon a time, long, long ago, there was a little coastal village. Three sides faced the sea, and the only way out to the big town was through a forest. In the woods lived a great many animals, and most were hunted by the village – sometimes for food, other times for sport, yet others out of fear. Most of the residents of the forest stayed far away from the village. However, the King of Snakes had no option. His wife had just laid eggs, and he needed to stay and guard his family. The villagers found him, and fearing his poison began attacking him. The King of Snakes, did not become King by being a walk over, he was a fierce fighter and strategist. He began taking the war back to the village. A few excruciating deaths by snake bite later, the villagers suddenly found their exit out of the village blocked. The few who tried to go out were prevented by the Nagaraj. Amidst this chaos, arrived a Seer, with his disciples – by boat. The villagers received the Guru with due respect, and made his stay in the village comfortable. The Sage, pleased with the villagers, asks them if he can do anything for them. The villagers complain about the Snake. The Guru tells them, he will take care of it. When he approaches the home of the Nagaraj, the King of Snakes senses the Great Teacher and accepts him as a Guru for himself and his family. The Seer asks the Snake to leave the villagers be and not bite them. The Snake agrees. The teacher leaves telling the villagers that they had nothing to fear anymore. The villagers revert to their original terrorizing behaviour –attacking the Nagaraj, destroying some Eggs, harming the wife. But, the Nagaraj and his family stick to their vow of not harming the villagers. A few months later, the Sage is passing by again.. He comes across the bruised and battered Nagaraj family. He asks them what the matter was. Mrs.Nagaraj pours her heart out. The King of Snakes looks stoically on, and tells the Guru – I stood by my word, as promised to you ‘we did not bite them’. The Guru smiled sagely and said “but, I didn’t tell you not to hiss’.
It would be advisable for the Government and Policy Makers in India, who seek peace with Pakistan, at all costs, to read the story and internalise its teachings. A hint – The story is neither about villainous villagers nor about talking snakes – nor is it all knowing seers who provide life altering solutions. Instead, it is about projecting a vibe. A vibe which says, attack and it will cost you. Attack and you will pay the price. The story is not about attacking, not in the least. It is also not about desiring peace so much that you get bruised and battered in the bargain. The learning from the story is simple – signal the fact that you are ready to attack to defend your turf, and willing to do grievous harm to keep yourself and those you have sworn to protect safe.
Indian Army – Image courtesy, DNA
Peace with Pakistan is a desirable end. But like any relationship, this one too cannot be built on lies. More importantly, peace cannot be built on a foundation of resentment. It has to be built on mutual respect and understanding. Nostalgia about shared history that one province in India shared with one province in Pakistan is not good enough for the rest of India to pay the price. Breaking of peace, going back on one’s word, killing soldiers, mutilating their bodies all have their origins at a single point – the last three Indian Governments have wanted Peace at all Costs. Both Mr.Vajpayee and Dr.Singh – both of whom have sought peace, have had to signal the end of talks and a willingness to walk away from the dream of “Peace in our Times” to get Pakistan to back down. Unfortunately, to achieve Peace you have to show that you are ready for war.
There is a via media between the calls for war and nuclear war put forth by belligerent war mongers who want to raise viewership by raising tempers, and ‘lets hug a neighbour today’ view put forward by peaceniks who live in neither country. That via media is signalling your intent to let the peace process die, if attacked – either by uniformed men or non-state actors using Pakistan as a base. Enough, really, is enough.