Veteran screenwriter and lyricist Javed Akhtar criticized film censorship practices at the Anantrang Mental Health Cultural Festival on Friday. He highlighted the double standards that exist within film regulatory bodies, suggesting that cinema reflecting societal truths often faces obstacles. In contrast, films featuring vulgarity and regressive values continue to be approved.
Akhtar reminded attendees that audiences play a pivotal role in determining which films become successful. “In this country, vulgarity will still be passed by the film boards. They don’t realize 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,” he stated.
He emphasized that cinema merely reflects societal realities, asserting that films should not bear the blame for society’s shortcomings. “A film is a window into society through which you peek. Closing the window will not fix what is happening outside,” he remarked.
Discussing the impact of hyper-masculine portrayals in cinema, Akhtar noted that the popularity of such films arises from societal approval. He argued that the relationship between men’s mental health and cinema is intertwined, asserting, “If men’s mental health improves, such films won’t be made — and even if they are, they won’t work.”
In a thought-provoking analogy, he stated, “In show business, the audience is god. A bad audience makes a bad film successful.” His words underscore the urgent need for audiences to critically evaluate their choices while consuming cinema.
Akhtar also expressed his discontent with the rise of vulgar songs dominating the music landscape. He disclosed that throughout his career, he consistently refused to contribute to such compositions. “During the 80s, many songs had double meanings, but I turned them down. I’m sad that those songs became superhits. That shows it’s the audience that shapes the industry,” he lamented.
Referring to the controversial song ‘Choli Ke Peeche Kya Hai’, he criticized the societal acceptance of such themes. “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.
Amidst his critique of the industry, Akhtar offered praise for the recent film Saiyaara, directed by Mohit Suri. He described the film’s music as “refreshingly calm and soulful,” appreciating its ability to stand out against the frenetic pace prevalent in modern music. “The music of Saiyaara has a stillness, an old charm. Today, music has become so frantic that percussion drowns the voice. When something soothing comes, it feels like shade in harsh sunlight,” he noted.
When asked about the effects of sad songs on emotional health, Akhtar provided a philosophical perspective. He believes it is essential to acknowledge sadness rather than deny it. “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,” he concluded with a smile.
