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AARAKSHAN and the need for a separate authority for film world as well



August 6, 2011 03:23:35 PM IST
Enkayaar, Glamsham Editorial
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Big B during one of the discussions with those who are trying to put spanner in AARAKSHAN release had remarked exasperatedly that maybe it was time that the government need to have a constitutional body for films as well which would certify a film, and thence forth nobody else would be allowed to create an obstruction in the way of release of film for viewing.

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Indeed, whenever one tries to raise an obstruction against a film, as it is happening in case of AARAKSHAN, it also brings into question sensibility and knowledge domain of people associated with film making. For the country it indeed is a matter of pride that its human resource personnel would be a matter of envy for any other service sector, and they undertake considerable research before mounting a film.

One of the opposition that is being cited against AARAKSHAN relates to the role of Dalit that Saif Ali Khan has played, and questions are being raised whether Saif would be able to bring about the pathos and sense of deprivation associated with the class with same intensity, as he belongs to an upper strata of the society.

CHECK OUT: UTV Movies ties up with the multi-starrer AARAKSHAN

Well, the rabble raisers need to go and look into RAAJNEETI where Ajay Devgn had played the character of a Dalit with aplomb. Besides, the first real Dalit character that was played on screen in a passionate way was that by Sanjeev Kumar in ARJUN PANDIT. Those who are opposing AARAKSHAN need to see ARJUN PANDIT, most of these so-called conscience keepers may not be even aware of such a film, or for that matter the role played by Dharmendra in GHULAMI of a Dalit, or that played by Naseeruddin Shah and Shabana Azmi in PAAR-the role of pig growers- which is haraam or totally immoral in Islam.

For an artist, once he dawns the grease paint, he sneaks into the character, and leaves behind his class and social identity, which the members of political affiliation try to stick to like a fevicol ka jod. For an artist, his portrayal of character is flavored with a panoramic vision, while those who oppose it for their own self-serving end, view the whole issue from a very myopic perspective. Indeed, the whole affair is being viewed from a very myopic perspective, rather self-serving one at that, without bothering to allow the film to release and reveal the content that the makers say would be a watershed in Indian societal history.

Let us hope that better sense would prevail, and AARAKSHAN would be one of the milestones in Indian cinema.



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