Legendary screenwriter and lyricist Javed Akhtar recently voiced his dismay over a glaring double standard in India’s film censorship. He pointed out that while films accurately portraying societal realities often face significant obstacles from regulatory bodies, those brimming with vulgarity appear to receive easy clearance.
At a recent event, Akhtar provocatively asserted that the success of a ‘bad film’ ultimately lies with a ‘bad audience.’
During the inaugural session of the Anantrang mental health cultural festival, Akhtar stated, “In this country, films featuring vulgarity will still get approval from regulatory bodies. They seem oblivious to the detrimental, male chauvinistic values that humiliate women and demonstrate insensitivity. Ironically, what often gets rejected is content that merely holds a mirror up to society.”
Akhtar emphasized that the role of cinema is simply to depict reality.
He eloquently described a film as “a window into society through which you peek, then close the window, but closing the window will not fix what is happening.”
Discussing the link between hyper-masculinity in films and its impact on mental health, Akhtar attributed the popularity of such narratives to their acceptance within society.
He elaborated, “Such films, often promoting hyper-masculinity, are a symptom of men’s mental health. If men’s mental well-being improves, these movies wouldn’t be produced, or even if they were, they wouldn’t find success in theaters.”
Drawing an analogy, he likened the audience to a deity in show business: “Just as religious people don’t blame God during difficulties, in our industry, the audience is revered. It’s a ‘bad audience’ that makes a ‘bad film’ successful.”
Akhtar concluded that films are merely reflections of societal trends, and producers, driven by these trends, will continue to make movies that resonate with them.
Akhtar also expressed his strong disapproval of the increasing number of ‘vulgar’ songs in cinema, revealing that he has consistently declined offers to write for such tracks because they conflict with his personal values.
He recalled a period, particularly in the 1980s, when songs were often laden with double meanings, or at times, no discernible meaning. “I would not work on such films,” he stated. “I don’t lament the creation or inclusion of these songs, but I deeply regret their overwhelming success. This clearly demonstrates that it is the audience that truly influences the kind of films being made.”
Citing the controversial song ‘Choli Ke Peeche Kya Hai’ as an example, Akhtar noted, “I’ve heard many parents proudly boast that their eight-year-old daughters dance flawlessly to this song. If these are the prevailing societal values, then what kind of songs and films can we expect? Ultimately, society bears the responsibility; cinema merely reflects it.”
In contrast to this trend, Akhtar commended the recent film ‘Saiyaara’ for its tranquil melodies and nostalgic appeal. This romantic drama, directed by Mohit Suri, introduced new talents Ahaan Panday and Aneet Padda.
He remarked, “When a film like ‘Saiyaara’ emerges, its music offers a calming stillness and a nostalgic charm reminiscent of bygone eras. Modern music, in contrast, often feels frenetic, with overpowering percussion that drowns out the lyrics. So, even if a film isn’t flawless, but provides a refreshing ‘shade’ from the ‘ruthless sunlight’ of current trends, it brings a sense of relief and enjoyment.”
When questioned whether listening to melancholic poetry or songs could exacerbate depression, Akhtar offered a nuanced response: ‘Yes and no.’
He explained, “It’s unhealthy to suppress sadness; otherwise, it will manifest elsewhere. Previously, films often included one or two poignant songs. However, these are largely absent from modern cinema, perhaps because ‘our good days have arrived’ (referencing a common political slogan). This form of denial, he cautioned light-heartedly, is profoundly unhealthy. He advocated for acknowledging and expressing sadness, stating that ‘if you are sad, then you cry, and accept that sadness; denying it will distort your mind.’