Veteran screenwriter and lyricist Javed Akhtar voiced strong disapproval regarding censorship practices in Indian cinema. Speaking at the Anantrang Mental Health Cultural Festival on Friday, he highlighted that films showcasing societal realities encounter significant obstacles, while those featuring vulgarity often gain approval.
Akhtar stressed the importance of audience influence in determining cinematic success. He remarked, “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 emphasized that cinema reflects societal complexities and should not bear the blame for societal issues. “A film is a window into society through which you peek. Closing the window will not fix what is happening outside,” he explained.
On the topic of hyper-masculine portrayals in films, Akhtar linked such representations to broader mental health issues. He pointed out that society’s approval of these films boosts their popularity. “It is because of the mental health of men that such films are being made. If men’s mental health improves, such films won’t be made — and even if they are, they won’t work,” he asserted.
In a striking analogy, he referred to the audience as gods in the world of cinema, declaring, “A bad audience makes a bad film successful.” This statement underscores the crucial role of viewer preferences in shaping film industry trends.
Akhtar’s critique extended to the rise of vulgar and double-meaning songs in Bollywood. He expressed his disapproval, stating he has consistently refused to write such content throughout his career. “During the 80s, many songs had double meanings, but I refused to write them. I’m not sad that people recorded them — I’m sad that those songs became superhits. That shows it’s the audience that shapes the industry,” he noted.
He specifically criticized the controversial song ‘Choli Ke Peeche Kya Hai’, observing that it reflects a disturbing trend where parents proudly view their daughters dancing to such indecent lyrics. “If these are the values of society, what can you expect from films and songs? Society is responsible — cinema is only a manifestation,” he affirmed.
Despite his criticisms, Akhtar praised the recent film Saiyaara, directed by Mohit Suri, which features newcomers Ahaan Panday and Aneet Padda. He described the music as “refreshingly calm and soulful,” highlighting its unique charm in contrast to today’s often chaotic film scores. “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 remarked.
When it comes to the emotional experience of art, Akhtar shared insights into the perception of sadness in music and film. Responding to whether sad songs can amplify feelings of depression, he stated, “It’s not good to deny sadness; otherwise, it will resurface elsewhere.” He noted that earlier films often included sad songs, but contemporary narratives seem to deny the complexity of emotions. “This denial of sadness is unhealthy — accept it, cry if you must. That’s what keeps the mind healthy,” he said, leaving the audience pondering the importance of emotional authenticity in life and art.
