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Raj Kapoor titillated the masses, yet went away unnoticed by the censor board

August 7, 2013 02:26:21 PM IST
By Mansoor Khan, Glamsham Editorial
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Teena Sharma, a woman social crusader has recently alleged that Censor Board of Film Certification (CBFC) is not constraint in its duty and is working under the control of filmmaker. She has alleged that the CBFC is encouraging sex and movies loaded with provocative adultery and skin display and violating the Cinematograph Act 1952 citing examples of movies like RACE 2, BOYSS TOH BOYSS HAIN, THE TEEN THRILLER SIXTEEN AND THE ROM-COM, RABBA MAIN KYA KAROON, D-DAY.

Glamsham.Com consents with her but laments that sex in Bollywood has been the rubber life saver for film makers to save their movies from drowning. However the censors sharpen their scissors they can NEVER prevent film makers from depicting sex in their films! Here is an interesting anecdote about film legend Raj Kapoor who handled sex beautifully in his movies.

Raj Kapoor cunningly exploited the censor board by cleverly presenting aesthetic eroticism. He artistically, presented his heroines in swim suits like Nargis (AWARA) or Dimple Kapadia (BOBBY) or the transparent sari drenched Padmani (JIS DESH MEIN GANGA BEHTI HAI) Hema Malini (SAPNON KA SAUDAGAR) and Mandakini (RAM TERI GANGA MAILI). In fact Vyjayanthimala enticing her hero Raj Kapoor in the song, 'Mein kya karoon ram mujhe...' (SANGAM, in alluring outfit was yet another masterpiece where Raj Kapoor titillated the masses yet went away unnoticed by the censor board.

What may stun the younger generation is that Raj Kapoor even depicted actress Simi, nude in MERA NAAM JOKER in the scene where adolescent Rishi Kapoor fantasies about his class teacher in his dream. Once Raj Kapoor deceived the censor board by cleverly capturing Simi 'almost nude' in a long shot. Again in SATYAM SHIVAM SUNDARAM, Zeenat Aman in those appealing dress never looks cheap. Instead she appears as a beauty straight out from a painters scenic painting. Also those passionate copulating scenes censored probably for the 'first time' on Indian screen only proves the director's mastery in handling these elegant scenes without being crude or provocative. Encouraged by Raj Kapoor's nerves other film maker began dressing their heroine more boldly and we had Sharmila Tagore in swimsuit in AN EVENING IN PARIS followed by hoard of other heroines of the era.


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