I write this piece knowing that my voice is like a candle in the wind, and will have no impact on those already converted to the thought that you speak of peace in these times, you are automatically a traitor. Yet, my conscience does not permit me to stay silent when I see some of my brethren succumb to powers that be, without even an attempt of a fight.
Why such a meek, soft stand? I asked myself. But on gathering facts, I realised that no one can fight for someone who does not want to fight for themselves. How do you coax someone out of an abusive relationship if they don't want to get out of it?
It was the year 1999 when my film Zakhm was denied a censor certificate by the Central Board of Film Certification (CBFC), headed by our very own Asha Parekh. I remember my father, Mahesh Bhatt, taking a clear stand, when the CBFC wanted to tamper with the film: We would release the film the way it was, or set fire to the negative!
My uncle Mukesh Bhatt (now president, Film & Television Producers’ Guild of India) backed that decision. Conviction does not need PR. The result of that conviction was not only a clean release, but a national award for Best Film on National Integration. All this was possible because Zakhm was produced independently, and not underwritten by corporate funding.
Corporate funding gives you the illusion of grandeur. But eventually, it makes you weak and cautious. It makes you too damn gentile. It was painful to watch Karan Johar have to proclaim his patriotism over and over. It was even more devastating to hear him say he will never work with artistes from the “neighbouring country” again. I’m not certain if those were his lines. Or if he was merely mouthing the agenda of the mighty FOX.
Either way, what is saddening is that through this entire debate, the words ‘patriotism’ and ‘profit’ have not only been used and misused, but have drowned out the word ‘art’.
Art has no boundaries. Artistes are beyond their nationalities. That is my belief. You may disagree. That is your right. As is mine, to agree to disagree. Why can't we see the obvious? Trade continues without restrictions between India and Pakistan. Yet there is a clampdown on all things Bollywood: a curious case of soft power being used instead as soft targets. I guess Karan Johar and Fawad Khan are more marketable targets than farmers who grow cotton and paan leaves.
The theatre owners and exhibitors are terrified that their properties will be vandalised. They will not trust the state to act on its promise of providing adequate security and ensuring a film’s peaceful release. Corporates will continue with their ongoing agenda—of profit by any, and all means.
In the meanwhile, wild figures like ‘`5 crore’ are thrown around as ‘sums to be donated’ by filmmakers, when at the meeting held between the chief minister, the Film Producers’ Guild, and the aggrieved filmmakers, no figure was arrived at. I repeat, no promises were made. The Producers’ Guild cannot and does not act on behalf of every producer in the film industry. Hence their supposed acceptance of “never working with Pakistani artistes” has no standing, until it is approved by each and every association — of which there are many.
I have a case pending in the High Court where I have questioned the legitimacy and authority of these very bodies that fail to protect independent producers like myself. When it comes to fighting copyright violation (in my case, with the title and film, Thank You), there is no assistance in sight.
It’s the same situation when one is hauled to court and has to fight a lonely battle for over a decade on an obscenity charge over a film poster (for Rog), even though the said poster has a ‘no-objection certificate’ from the concerned producers’ association, and the Censor Board.
So, I’m sorry, is this Bollywood? If it is, then it’s not an industry I wish to inherit. Is this Mumbai? It definitely is. And this is certainly not the Bombay I was born to.
Pooja Bhatt is a Bollywood actor turned filmmaker.
Why such a meek, soft stand? I asked myself. But on gathering facts, I realised that no one can fight for someone who does not want to fight for themselves. How do you coax someone out of an abusive relationship if they don't want to get out of it?
It was the year 1999 when my film Zakhm was denied a censor certificate by the Central Board of Film Certification (CBFC), headed by our very own Asha Parekh. I remember my father, Mahesh Bhatt, taking a clear stand, when the CBFC wanted to tamper with the film: We would release the film the way it was, or set fire to the negative!
My uncle Mukesh Bhatt (now president, Film & Television Producers’ Guild of India) backed that decision. Conviction does not need PR. The result of that conviction was not only a clean release, but a national award for Best Film on National Integration. All this was possible because Zakhm was produced independently, and not underwritten by corporate funding.
Corporate funding gives you the illusion of grandeur. But eventually, it makes you weak and cautious. It makes you too damn gentile. It was painful to watch Karan Johar have to proclaim his patriotism over and over. It was even more devastating to hear him say he will never work with artistes from the “neighbouring country” again. I’m not certain if those were his lines. Or if he was merely mouthing the agenda of the mighty FOX.
Either way, what is saddening is that through this entire debate, the words ‘patriotism’ and ‘profit’ have not only been used and misused, but have drowned out the word ‘art’.
Art has no boundaries. Artistes are beyond their nationalities. That is my belief. You may disagree. That is your right. As is mine, to agree to disagree. Why can't we see the obvious? Trade continues without restrictions between India and Pakistan. Yet there is a clampdown on all things Bollywood: a curious case of soft power being used instead as soft targets. I guess Karan Johar and Fawad Khan are more marketable targets than farmers who grow cotton and paan leaves.
The theatre owners and exhibitors are terrified that their properties will be vandalised. They will not trust the state to act on its promise of providing adequate security and ensuring a film’s peaceful release. Corporates will continue with their ongoing agenda—of profit by any, and all means.
In the meanwhile, wild figures like ‘`5 crore’ are thrown around as ‘sums to be donated’ by filmmakers, when at the meeting held between the chief minister, the Film Producers’ Guild, and the aggrieved filmmakers, no figure was arrived at. I repeat, no promises were made. The Producers’ Guild cannot and does not act on behalf of every producer in the film industry. Hence their supposed acceptance of “never working with Pakistani artistes” has no standing, until it is approved by each and every association — of which there are many.
I have a case pending in the High Court where I have questioned the legitimacy and authority of these very bodies that fail to protect independent producers like myself. When it comes to fighting copyright violation (in my case, with the title and film, Thank You), there is no assistance in sight.
It’s the same situation when one is hauled to court and has to fight a lonely battle for over a decade on an obscenity charge over a film poster (for Rog), even though the said poster has a ‘no-objection certificate’ from the concerned producers’ association, and the Censor Board.
So, I’m sorry, is this Bollywood? If it is, then it’s not an industry I wish to inherit. Is this Mumbai? It definitely is. And this is certainly not the Bombay I was born to.
Pooja Bhatt is a Bollywood actor turned filmmaker.
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