Veteran screenwriter and lyricist Javed Akhtar has sharply criticized the double standards prevalent in Indian film censorship. Speaking at the Anantrang Mental Health Cultural Festival on Friday, he highlighted how films reflecting societal realities often face hurdles, while those laden with vulgar content frequently receive easy clearance from regulatory bodies.
Akhtar stated, “In this country, vulgarity will still be passed by the film boards. They don’t realise that these are wrong values — a male chauvinistic view that humiliates women. But what will not be passed is something that shows the mirror to society,” underlining the significant issue of censorship in Indian cinema.
The esteemed writer emphasized that films are simply a reflection of societal truths and should not attract blame for societal issues. He remarked, “A film is a window into society through which you peek. Closing the window will not fix what is happening outside.” Akhtar’s belief that cinema should be an honest reflection rather than a purveyor of fantasies resonated throughout his address.
Upon discussing the implications of hyper-masculine portrayals in film, Akhtar expressed concern regarding their potential impact on mental health. He articulated that films aligned with hyper-masculine ideals gain traction due to societal approval, saying, “It is because of the mental health of men that such films are being made. If men’s mental health improves, such films won’t be made — and even if they are, they won’t work.”
In a powerful analogy, he stated, “In show business, the audience is god. A bad audience makes a bad film successful.” His statements challenge audiences to take responsibility for contributing to the cinematic landscape that ultimately shapes societal values.
On the topic of vulgar songs and diminishing public taste, Akhtar shared his long-standing refusal to engage with low-brow compositions through his career. He expressed disappointment over the popularity of vulgar songs, stating, “During the 80s, many songs had double meanings, but I refused to write them. I’m not sad that people recorded them — I’m sad that those songs became superhits. That shows it’s the audience that shapes the industry.”
Citing the controversial track ‘Choli Ke Peeche Kya Hai’, Akhtar lamented that parents taking pride in their young daughters dancing to such songs highlighted a significant decline in societal values. “If these are the values of society, what can you expect from films and songs? Society is responsible — cinema is only a manifestation,” he asserted, calling for a critical evaluation of public taste.
Despite his critiques, Akhtar acknowledged positive developments in cinema, particularly the recent film ‘Saiyaara’, directed by Mohit Suri, which he called “refreshingly calm and soulful.” He praised its music, describing it as possessing an “old charm,” and lamented the over-saturation of frantic rhythms in contemporary music: “Today, music has become so frantic that percussion drowns the voice. When something soothing comes, it feels like shade in harsh sunlight.”
Engaging in a thoughtful discussion on the intersection of sadness and art, Akhtar shared his philosophy about portraying emotional depth: “It’s not good to deny sadness; otherwise, it will resurface elsewhere. Earlier, every film had one or two sad songs, but now they’ve vanished because we believe ‘achhe din aa gaye hain’. This denial of sadness is unhealthy — accept it, cry if you must. That’s what keeps the mind healthy.”
As the conversation on the challenges facing Indian cinema evolves, Javed Akhtar’s insights prompt a deeper reflection on the responsibility of audiences and filmmakers alike. His remarks encourage a shift towards valuing films that uphold integrity, promoting a narrative that enlightens rather than degrades.
