'Udta Punjab' gets HC nod with one cut, modified disclaimer

June 13, 2016

UP

Mumbai, Jun 13: The Bombay High Court today cleared the decks for the release of movie 'Udta Punjab', whose makers were locked in a dispute with the Central Board of Film Certification, after ordering deleting a urination scene and displaying a revised disclaimer.

The court also came down heavily on the CBFC and asked it not to act like a "grandmother", and change with times. A division bench of Justices S C Dharmadhikari and Shalini Phansalkar-Joshi directed the CBFC to certify the drug-themed film within 48 hours to enable the makers to release it on its scheduled date of June 17.

"Barring the deletion of the urination scene as directed by the board and modification of the disclaimer, the June 6 order passed by the CBFC's revising committee directing for a total of 13 changes in the movie is quashed and set aside," the court said.

The bench, however, refused to stay its order on a plea made by CBFC counsel Advait Sethna to enable the board to appeal against it in the Supreme Court, saying the filmmakers have already spent a lot on the movie and its promotion and distribution.

The court, which was hearing a petition filed by Anurag Kashyap's Phantom Films challenging the CBFC order, came down heavily on the board for curbing a creative person's work.

"Do not act like a grandmother. Change as per the times now. The CBFC need not be over-sensitive in the matter of art. The CBFC cannot stop creative people abruptly as it may discourage them. This will kill creativity. These days filmmakers are brutal, direct and straightforward. One need not treat them harshly just because of this," the HC said.

The court further noted that the CBFC is not empowered by law to censor films, as the word censor is not included in the Cinematograph Act.

"Censor in common parlance means to certify a movie. Therefore, if by law the board is empowered to make changes, cuts, or deletions, this power of the CBFC must be consistently in consonance with the provisions of the Constitution and the Supreme Court directions," Justice Dharmadhikari said.

As per the revised disclaimer, the 'Udta Punjab' makers will have to delete reference to Pakistan. They will also have to make additions to the disclaimer to the effect that the movie, its characters and the filmmakers do not promote the use of drugs and abusive language, and that the film is only attempting to depict the reality of drug abuse.

On cutting out the urination scene, Justice Dharmadhikari said, "The CBFC is justified in directing deletion of the scene as the shot was unnecessary given the backdrop and the theme of the movie. Instead of this particular scene, the filmmaker could have taken recourse to other methods to depict the same."

The court noted that it has read the film's script and does not find anything in it that shows Punjab in a bad light or affects the sovereignty, integrity or security of India.

"It is undisputed that the CBFC possesses powers to call for cuts, changes, deletions in a movie while certifying it. These powers come into play if the film affects the sovereignty, integrity or security of India, foreign relations, public order, and or is likely to incite commission of an offence. There is a heavy burden on the authority to show that the restrictions imposed are reasonable," the bench observed.

In the present case, the CBFC-imposed restrictions were not correct. The movie has to be seen as a whole and it was not permissible to take the characters, scenes and songs in isolation and out of context, the judges said.

"It is open for a creative person to select the background, setting and accordingly weave the story. It is entirely on the creative person to choose the setting, pattern, underlying theme and storyline.

"Creative freedom allows use of certain words as per the choice of the filmmaker. Nobody can dictate to him as to how the movie should be made or its content," the court said.

The bench said it was in agreement with the petitioners that there was an increasing menace of drug abuse amongst the youth in Punjab.

"The film is meant for adult viewing. If a maker chooses this way of depicting the movie and a subject, then it is not for anybody to restrict it. Like the CBFC, even we would be happy if better words were coined and used by the filmmaker," the judges said.

The court said one must not forget that the movie is a work of fiction.

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Agencies
July 19,2020

Mumbai, Jul 19: Mumbai Police have registered an FIR against two Instagram account holders for allegedly threatening actor Rhea Chakraborty, an official said on Sunday.

The location of the two accused is yet to be traced, the official said, adding that the investigation in the case is at primary stage.

Chakraborty on Thursday requested the cyber crime cell to look into the rape and murder threats she has been receiving ever since the death of close friend, actor Sushant Singh Rajput.

Rajput, 34, was found dead in his apartment in suburban Bandra here on June 14, leaving people in the film industry and audiences shocked.

Chakraborty, in particular, was subjected to online hate with users blaming her for Rajput's suicide.

"We registered the First Information Report (FIR) on Saturday under Indian Penal Code Sections 507 (criminal intimidation by an anonymous communication), 509 (intending to insult modesty of any woman) and relevant provisions of the Information Technology Act," Santacruz police station's senior inspector Shriram Koregaonkar said.

"No arrest has been made so far. We are conducting an investigation in the case," he added.

On Thursday, sharing a screenshot of a hate message she received on Instagram, Chakraborty said while she had ignored many abusive texts sent to her in the past month, the harassment was now unbearable.

The 28-year-old actor eventually disabled the comments section of her Instagram page.

Chakraborty, known for films such as "Mere Dad Ki Maruti" and "Jalebi", had tagged the cyber cell and requested the authorities to look into the threats.

On June 18, she was called to the Bandra police station to record her statement in connection with Rajput's death.

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News Network
July 15,2020

New Delhi, Jul 15: "I'm just happy with resuming work after a long break!" said Bollywood actor Vaani Kapoor, who is thrilled to get back for movie shootings after a long COVID-19 induced gap of nearly four months.

The 31-year-old star has been roped in to share screen space with Akshay Kumar for the upcoming espionage thriller 'Bell bottom'.

Kapoor, who is a big fan of the 'Mission Mangal' actor, has since then shared her excitement of working in the film, and also act opposite Kumar.

Talking about getting back to work amid the COVID-19 pandemic, she explained, "I, honestly, am just happy with work resuming after a long break. One will, of course, have to be extra cautious and keep all preventive measures in mind but it feels exciting to embark on a new journey!"

On July 6, the 'Befikre' actor had announced on Twitter that the movie is all set to go on floors in August. The makers of the movie have taken the decision to shoot the film in Scotland.

'Bell Bottom' will be the first film to see Vaani Kapoor and Akshay Kumar sharing the screen space.

"Well, this is a great opportunity for me! I have great respect for Akshay sir. It's super exciting and I am really looking forward to the experience," she noted.

The actor had completed the shooting of her next project 'Shamshera', in which she is paired opposite Ranbir Kapoor.

While 'Bell Botton' directed by Ranjit M Tewari, is slated for release on April 2, 2021. The first poster of the movie was released by Akshay Kumar in November, last year.

The film, set in the 80s, is an original screenplay inspired by true events. Akshay is most likely to essay the story of a spy in the movie.

'Bell Bottom' is produced by Vashu Bhagnani, Jackky Bhagnani, Deepshikha Deshmukh, Monisha Advani, Madhu Bhojwani, and Nikkhil Advani.

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News Network
February 10,2020

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.

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