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M.B. Padmakumar, an Indian filmmaker, has publicly accused the Central Board of Film Certification (CBFC) of employing informal and unorthodox methods to pressure him into changing the name of one of the protagonists in his upcoming film, 'Token Number.' According to Padmakumar, the CBFC raised concerns about the name 'Janaki,' which is also a name for the Hindu goddess Sita, being associated with the character 'Abraham.' The filmmaker claims that the CBFC officials refused to provide any official communication regarding these objections, opting instead for informal channels such as WhatsApp calls to avoid any record of their demands. This alleged lack of transparency and accountability on the part of the CBFC raises serious questions about the board's procedures and its potential for arbitrary decision-making. The core of Padmakumar's complaint lies in the CBFC's alleged insistence on a name change, despite the film having been cleared by the regional office. This discrepancy between the regional and headquarters levels within the CBFC suggests a lack of coordination and potentially conflicting interpretations of censorship guidelines. Padmakumar's experience echoes a similar controversy surrounding the film 'JSK - Janaki Vs State of Kerala,' which also faced objections from the CBFC regarding the name 'Janaki.' This coincidence suggests a potentially systemic issue within the CBFC concerning the use of religious names in films. The narrative of 'Token Number' centers around the unlikely friendship between a 65-year-old woman named Janaki and a 72-year-old man named Abraham. The film explores themes of societal expectations and personal dreams, highlighting the characters' defiance of conventional norms. The CBFC's objection to the name 'Janaki' stems from the perceived incompatibility of a Hindu goddess's name being associated with a character named Abraham. This objection reflects a conservative viewpoint that prioritizes religious sensitivities over artistic expression and creative freedom. Padmakumar's attempts to resolve the issue through official channels, including contacting political leaders and the Union Minister of Broadcasting, were largely unsuccessful. He claims that his efforts to seek intervention only exacerbated the situation, leading to further resistance from the CBFC. Faced with mounting pressure and mental exhaustion, Padmakumar reluctantly agreed to change the name 'Janaki' to 'Jayanthi,' hoping to appease the CBFC and secure certification for his film. However, even this compromise was met with resistance, highlighting the CBFC's seemingly arbitrary and unreasonable demands. Despite the challenges and setbacks, Padmakumar ultimately stood his ground and refused to make further concessions. His unwavering commitment to his artistic vision and his refusal to be bullied by the CBFC is a testament to his integrity as a filmmaker. The CBFC eventually relented and issued the certification for 'Token Number' on June 9, but only after Padmakumar had endured significant stress and emotional turmoil. The entire episode raises serious concerns about the CBFC's role as a gatekeeper of Indian cinema. The board's alleged use of informal channels, its inconsistent application of censorship guidelines, and its apparent willingness to prioritize religious sensitivities over artistic expression are all deeply troubling. Padmakumar's experience highlights the potential for the CBFC to stifle creativity and undermine the freedom of expression in the Indian film industry. The incident also underscores the need for greater transparency and accountability within the CBFC. The board's decision-making processes should be subject to public scrutiny, and its officials should be held accountable for their actions. The CBFC should also adopt a more consistent and objective approach to censorship, ensuring that its decisions are based on clear and well-defined guidelines, rather than arbitrary or subjective interpretations. Furthermore, the CBFC should prioritize artistic freedom and creative expression, recognizing that films can play a vital role in challenging societal norms and promoting critical thinking. The board should avoid imposing unnecessary restrictions on filmmakers and should respect their right to tell stories that are thought-provoking, challenging, and even controversial. The controversy surrounding 'Token Number' and 'JSK - Janaki Vs State of Kerala' serves as a reminder of the ongoing tension between artistic freedom and censorship in India. It also highlights the importance of safeguarding the rights of filmmakers and ensuring that their voices are not silenced by those who seek to impose their own narrow views on society. The issue also brings attention to the communication processes within government regulatory bodies. The fact that communications were done informally, specifically to avoid a written record, hints at deeper potential problems within the CBFC. It raises concerns about how decisions are made and whether these decisions are consistent with the CBFC's stated mission and guidelines. Padmakumar's experience sheds light on the difficulties faced by independent filmmakers in navigating the complex and often opaque world of film censorship in India. His courage in speaking out against the CBFC's alleged misconduct is commendable and serves as an inspiration to other filmmakers who may be facing similar challenges. The CBFC's role is to provide guidance and ensure films are appropriate for their target audiences, but it must do so in a manner that respects the creative integrity of the filmmakers and promotes a vibrant and diverse film industry. The events surrounding 'Token Number' raise questions about whether the CBFC is fulfilling this role effectively. The case also highlights the power dynamics that exist between filmmakers and regulatory bodies. Independent filmmakers, particularly those without the resources of major studios, are often vulnerable to pressure from the CBFC. This power imbalance can lead to self-censorship and a reluctance to challenge the board's decisions. It is essential that the CBFC operates in a fair and transparent manner to protect the rights of all filmmakers, regardless of their resources or influence. The Padmakumar case may also spur a broader conversation about the role of religious sensitivities in film censorship. While respecting religious beliefs is important, it should not come at the expense of artistic freedom and creative expression. The CBFC should avoid imposing its own religious views on filmmakers and should instead focus on ensuring that films do not incite violence or hatred. Ultimately, the controversy surrounding 'Token Number' is a reminder of the importance of vigilance in protecting artistic freedom and ensuring that regulatory bodies operate in a fair, transparent, and accountable manner.
The intricacies of navigating the CBFC's often-murky waters are further complicated by the subjective nature of censorship guidelines. What one official deems objectionable, another may find acceptable, leading to inconsistencies in the board's decisions. This lack of clarity and predictability can create a climate of uncertainty for filmmakers, who are left to guess what will and will not pass muster with the CBFC. The informal communication channels employed by the CBFC, as alleged by Padmakumar, exacerbate this problem. Without a written record of the board's objections, filmmakers are left with little recourse to challenge or appeal its decisions. This lack of transparency undermines the CBFC's credibility and creates a perception of arbitrariness and bias. The case of 'Token Number' also raises questions about the CBFC's understanding of its own mandate. The board's primary responsibility is to classify films according to their suitability for different audiences, not to dictate the content of those films. By attempting to force Padmakumar to change the name of his character, the CBFC appears to have overstepped its authority and interfered with his artistic vision. The CBFC's actions in this case could have a chilling effect on the Indian film industry, discouraging filmmakers from tackling controversial or sensitive subjects. If filmmakers fear that their work will be censored or suppressed, they may be less likely to take risks and push boundaries, leading to a decline in the quality and diversity of Indian cinema. It is imperative that the CBFC recognizes the importance of artistic freedom and adopts a more balanced and nuanced approach to censorship. The board should focus on ensuring that films are appropriately classified and labeled, while respecting the creative integrity of the filmmakers. The incident also underscores the need for greater dialogue and collaboration between the CBFC and the Indian film industry. By working together, the two sides can develop a set of censorship guidelines that are both fair and effective. The CBFC should also be more transparent in its decision-making processes, providing filmmakers with clear and concise explanations for its objections. This transparency would help to build trust between the CBFC and the film industry and create a more collaborative and constructive environment. The Padmakumar case serves as a cautionary tale about the dangers of unchecked censorship and the importance of protecting artistic freedom. It is a reminder that the CBFC must operate in a fair, transparent, and accountable manner to ensure that the Indian film industry can thrive and continue to produce films that are both entertaining and thought-provoking. The long-term consequences of this kind of behavior by regulatory bodies could be detrimental to the creative landscape of the country. If artists are consistently subjected to arbitrary demands and informal censorship, they may be less inclined to experiment with new ideas and challenge the status quo. This can lead to a homogenization of cultural expression and a stifling of innovation. The CBFC, as a public institution, has a responsibility to foster a diverse and vibrant cultural landscape, not to suppress it. To achieve this goal, it must embrace transparency, accountability, and a deep respect for artistic freedom. It also needs to update its processes to be more in line with modern communication standards. Relying on informal communication methods, such as WhatsApp calls, is simply not acceptable in today's world. These methods are opaque and difficult to track, which makes it harder to hold the CBFC accountable for its decisions. The CBFC should adopt a more formal and documented approach to communication, ensuring that all decisions are clearly recorded and that filmmakers have access to the information they need to understand the board's reasoning. Furthermore, the CBFC should be more proactive in engaging with filmmakers and other stakeholders in the film industry. By fostering open communication and building strong relationships, the CBFC can create a more collaborative and constructive environment for film censorship. This will help to ensure that the board's decisions are informed by a wide range of perspectives and that the interests of all stakeholders are taken into account. The Padmakumar case is a wake-up call for the CBFC and for the Indian government. It is time to take a serious look at the way film censorship is handled in India and to make the necessary reforms to ensure that artistic freedom is protected and that the Indian film industry can continue to flourish. The events also raise a larger question of what constitutes a reasonable objection to a film’s content or title. While the CBFC has a responsibility to ensure that films do not violate the law or incite violence, its interpretation of these guidelines should not be so narrow as to stifle creativity and artistic expression. In the case of “Janaki,” the CBFC’s objection seemed to be based on a subjective interpretation of religious sensitivities, rather than on any clear legal or ethical grounds. This kind of subjective interpretation can be dangerous, as it can be used to justify censorship based on personal biases or political agendas. The CBFC should strive to be more objective in its decision-making, relying on clear and well-defined guidelines that are based on established legal and ethical principles. Finally, the Padmakumar case highlights the importance of freedom of expression in a democratic society. Freedom of expression is not just a right; it is also a vital component of a healthy and functioning democracy. It allows for the free exchange of ideas, which is essential for progress and innovation. When freedom of expression is curtailed, society as a whole suffers. The government should take steps to protect and promote freedom of expression, including artistic freedom. This means ensuring that the CBFC operates in a manner that is consistent with democratic principles and that it does not unduly restrict the creative expression of filmmakers.
Source: CBFC made demands for Janaki name change through informal ways: Filmmaker M.B. Padmakumar