Veteran screenwriter and lyricist Javed Akhtar harshly criticized India’s film censorship practices during his speech at the Anantrang Mental Health Cultural Festival on Friday. He expressed concern about how films depicting social realities often face hurdles, while those featuring vulgarity and regressive values easily gain approval.
Akhtar commented on the significant role of audience choices in determining the success of films. He pointed out, “In this country, vulgarity will still be passed by the film boards. They don’t realise 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.” His remarks underline the flawed decision-making within film regulatory bodies in India.
Continuing his critique, Akhtar emphasized that cinema serves as a representation of societal realities. “A film is a window into society through which you peek. Closing the window will not fix what is happening outside,” he emphasized, showcasing his perspective on the responsibilities of filmmakers versus what they portray.
Shifting focus to the impact of hyper-masculinity in films, Akhtar noted, “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.” This highlights his belief that societal approval plays a pivotal role in the making of certain films.
Linking audience behavior to artistic outcomes, Akhtar remarked, “In show business, the audience is god. A bad audience makes a bad film successful.” This statement encapsulates his overarching message regarding audience responsibility in shaping cinematic narratives and trends.
Akhtar did not shy away from addressing his disillusionment with the surge of vulgar songs in Bollywood. He shared that he has consistently refused to write double-meaning songs throughout his illustrious 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 conveyed passionately.
Recollecting the controversial song ‘Choli Ke Peeche Kya Hai’, he criticized parents who take pride in seeing their daughters dance to such tracks, signifying a troubling decline in societal values. “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, juxtaposing cinema’s role as a mirror to cultural realities.
Amid his critical observations, Akhtar praised the recent film Saiyaara, directed by Mohit Suri and featuring newcomers Ahaan Panday and Aneet Padda. He described its music as “refreshingly calm and soulful.” He further elaborated, “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.” His appreciation of this film highlights that quality content still exists amid the noise of mainstream cinema.
When asked about the emotional impact of listening to sad songs, Akhtar provided a thoughtful response: “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 said with a smile.
