Reel life in the dark room of Emergency

Hindustan Times

5 hours ago

It didn't take even three decades for the sovereign democratic Republic of India to face a nation-wide internal Emergency (June 25, 1975–March 21, 1977), which in practice meant democratic despotism and electoral autocracy. Both paradoxical and contradictory-in-terms, when film producers, directors and artistes saw how their freedom was clipped while the censorial scissors became extra-constitutionally sharper in the hands of an elected despot. After the Emergency got over, the newly elected Janata Party government at the Centre published a White Paper on Misuse of Mass Media During the Internal Emergency in August 1977, that listed all branches of mass media (including cinema) and examined how their rights were violated through the reckless abuse of power. Playback singer Kishore Kumar was another artiste who fell out with the authorities during the Emergency. (HT Photo)
My story begins with two instances from Southern India that the White Paper did not mention. Incidentally, on the very day of the clamping of the draconian Emergency, i.e. June 25, 1975, a Kannada film was winding up its shooting while a Malayalam film project was being launched in Bengaluru; the Malayalam film crew was in the Karnataka capital because at that time the State government was offering a subsidy of ₹ 50,000 to producers who made films in that state. The Malayalam film was Kabani Nadi Chuvannappol (When the Kabani River Turned Red, 1975). The director of the film, PA Backer, and its producer, Pavithran, are no more, but I spoke with TV Chandran, who debuted as an actor in Kabani (Chandran is better known as a screenwriter and director in Kerala today). Chandran recalled how they were harassed during the shoot because the film dealt with the theme of student revolt against the establishment.
Later, the censors asked the producer to chop off nearly 1,000 feet of the footage. Parts of the film were reshot and was resubmitted to two central representatives. The film was screened for the two men at the massive Kalaivanar Arangam theatre in Madras (Chennai), who did not find anything objectionable in it. However, Kabani Nadi Chuvannappol was withdrawn from a cinema hall in Thiruvananthapuram a couple of weeks after its release under government instruction. This time, the police ordered further cuts.
The second story is about the Kannada film, Chanda Maruta (Rogue Winds, 1975) starring Snehalatha Reddy and directed by her husband Pattabhi Rama Reddy. The film, inspired by P Lankesh's play Kranthi Bantu Kranthi had, in fact, prophesied the Emergency. The censors banned the film. On June 25, 1975, Snehalata Reddy, who was one part of the lead pair (along with Girish Karnad) in Samskara (1970), Pattabhi Rama Reddy's adaptation of UR Ananthamurthy's celebrated novel, was imprisoned on false charges. She was tortured in Bangalore Central Prison and passed away while on parole on January 20, 1977. She was only 45. Eminent Malayalam writer-director MT Vasudevan Nair had planned to make a film about her, which, unfortunately, didn't happen. However, Uma Chakravarti's documentary Prison Diaries (2019) provides us an invaluable document about the imprisonment of a number of women who resisted the Emergency through the life of Snehalatha Reddy. Anand Patwardhan's 1978 film Prisoners of Conscience is a chronicle of how, under the Emergency, dissenters were detained and tortured in prisons.
Among the films the White Paper mentions is Aandhi (Storm, 1975) directed by Gulzar and starring Sanjiv Kumar and Suchitra Sen. The film's heroine was to be modelled on Indira Gandhi but that idea was dropped. Permission was granted only after the producer revised the film. Kissa Kursi Ka, directed by Amrit Nahata in 1975, fared worse. The film was a satire on the politics of that time. It was first banned and later, its prints were confiscated. The film as well as its negative were destroyed. Andolan, directed by Lekh Tandon (1975) dealt with the 1942 movement. It could not be released because the producer was ordered to cut all the portions dealing with underground activities that were contextualised around the story. Even the blockbuster Sholay wasn't spared. The censors asked the producer to change the end scenes.
Playback singer Kishore Kumar was another artiste who fell out with the authorities during the Emergency. As a result, his songs were banned from the radio and television, both controlled by the government, and the sale of gramophone records with his songs was made unlawful! Such bullying and arm-twisting by the central government were commonplace during the 21 months of the Emergency. Like Snehalatha Reddy and Kishore Kumar, not everyone meekly surrendered. Actor Dev Anand opposed the Emergency publicly and described it as a 'dark night, a nightmare, an insult to the people'. He even formed a political party – the National Party of India – which had to be disbanded when he failed to find suitable candidates to fight elections after the Emergency was lifted in 1977.
As the nation commemorates the 50th anniversary of the Emergency, these instances of pushback should be remembered.
Amrit Gangar is a Mumbai-based author, curator and historian. The views expressed are personal.