Latest news with #RajkumarSantoshi
Indian Express
11-07-2025
- Entertainment
- Indian Express
Janaki v/s State of Kerala: Janaki is everywhere. But only CBFC sees a problem
Nearly a quarter of a century ago, Rajkumar Santoshi made a film called Lajja that, were it to come before the Central Board of Film Certification (CBFC) today, would likely have the members of that body calling for smelling salts. Starring Manisha Koirala, Madhuri Dixit, Rekha and Mahima Chaudhry, Lajja (2001) took on the hypocrisy of a society that venerates goddesses but mistreats and exploits flesh-and-blood women. It was a well-intentioned if melodramatic film that couldn't resist — like so many other 'women-centric' films of the time — tempering its feminist sympathies with a hefty dose of male saviourism. It was, in other words, typically Bollywood: A little bold, a little sanctimonious, and designed to be entertaining. Could such a film, so thoroughly mainstream in 2001, be made today? One might well ask this question, considering the meltdown that the CBFC appears to have had over a Malayalam film called Janaki v/s State of Kerala, beginning with the name of the protagonist, who is a rape survivor. How, the CBFC demanded to know, could a sexual assault survivor be named after the goddess Sita? Its refusal to certify the film unless the title and character name were changed — along with several more cuts — led to the producers seeking relief in the High Court. And as if its objections had not been absurd enough, the CBFC stated in a counter-affidavit, '(the protagonist) is aided by a man belonging to a particular religious community and is cross-examined and asked harrowing questions by a person belonging to another religious community. This religious dichotomy in the treatment of the character bearing Goddess Sita's sacred name has the potential to inflame communal tensions and create divisive narratives between religious groups.' And here we come back to Lajja, in which not one, but four characters were named after Sita — Vaidehi, Maithili, Janki and Ram Dulaari. The very choice of these names was meant to drive home the film's message about the horrors that women have to endure in a deeply patriarchal society. The same year, a film named Ravanaprabhu was made in Kerala, in which a woman named Janaki falls in love with the title character — it went on to become one of the top-grossing Malayalam films of that year. If these films could be made and released without hurting sentiments or disrupting public order in 2001, one can only despair over how far Indian society has regressed in the 24 years since — at least in the CBFC's imagination. Because that, too, is among the many troubling aspects of this whole controversy: The wounds that the CBFC is seeking to salve by holding up the release of a film that was already cleared by its regional office in Thiruvananthapuram are entirely imaginary. As the Court itself noted, not one protest has erupted in the state. Not only is the CBFC going beyond its remit to decide what filmgoers in India can and cannot watch, it is hypothesising about how they might feel about a film and acting on it before the film has even been released. The CBFC has a long history of attempting to circumscribe artistic space and infantilising the audience, but in Kerala the case of Janaki v/s state of Kerala has an especially disturbing resonance given the controversy in March over L2: Empuraan, which suggests that the ground may indeed have shifted. In Empuraan's case, it was not the CBFC that posed the problem, but some social media users and members of the Sangh Parivar who took offence to its depiction of the 2002 Gujarat riots. That the producers of the film and its star, Mohanlal, apologised and agreed to 'voluntary modifications' to dialogues or scenes that may have 'pained' anyone betrayed a sense of being under siege, not by the scissors of official censorship, but by 'sentiments' of the easily offended. Some in the Malayalam film industry have sought to trace the current controversy back to the capitulation seen during the L2:Empuraan episode, arguing that ceding space to the hurt sentiments brigade at that time has normalised such reactions. That may not be entirely fair; we've been seeing similar controversies and capitulations in the Hindi film industry for a while, after all. Malayalam cinema has, so far, been protected by the unselfconscious sense of religious harmony that has long characterised it and which has mostly kept artistic freedom and creativity from being hijacked by manufactured outrage. Could the furore over Janaki v/s… — whose producers have agreed to add the initial 'V' before 'Janaki' in the title, besides two more cuts — herald a narrowing of this space?
Indian Express
11-07-2025
- Entertainment
- Indian Express
Janaki is everywhere. But only CBFC sees a problem
Nearly a quarter of a century ago, Rajkumar Santoshi made a film called Lajja that, were it to come before the Central Board of Film Certification (CBFC) today, would likely have the members of that body calling for smelling salts. Starring Manisha Koirala, Madhuri Dixit, Rekha and Mahima Chaudhry, Lajja (2001) took on the hypocrisy of a society that venerates goddesses but mistreats and exploits flesh-and-blood women. It was a well-intentioned if melodramatic film that couldn't resist — like so many other 'women-centric' films of the time — tempering its feminist sympathies with a hefty dose of male saviourism. It was, in other words, typically Bollywood: A little bold, a little sanctimonious, and designed to be entertaining. Could such a film, so thoroughly mainstream in 2001, be made today? One might well ask this question, considering the meltdown that the CBFC appears to have had over a Malayalam film called Janaki v/s State of Kerala, beginning with the name of the protagonist, who is a rape survivor. How, the CBFC demanded to know, could a sexual assault survivor be named after the goddess Sita? Its refusal to certify the film unless the title and character name were changed — along with several more cuts — led to the producers seeking relief in the High Court. And as if its objections had not been absurd enough, the CBFC stated in a counter-affidavit, '(the protagonist) is aided by a man belonging to a particular religious community and is cross-examined and asked harrowing questions by a person belonging to another religious community. This religious dichotomy in the treatment of the character bearing Goddess Sita's sacred name has the potential to inflame communal tensions and create divisive narratives between religious groups.' And here we come back to Lajja, in which not one, but four characters were named after Sita — Vaidehi, Maithili, Janki and Ram Dulaari. The very choice of these names was meant to drive home the film's message about the horrors that women have to endure in a deeply patriarchal society. The same year, a film named Ravanaprabhu was made in Kerala, in which a woman named Janaki falls in love with the title character — it went on to become one of the top-grossing Malayalam films of that year. If these films could be made and released without hurting sentiments or disrupting public order in 2001, one can only despair over how far Indian society has regressed in the 24 years since — at least in the CBFC's imagination. Because that, too, is among the many troubling aspects of this whole controversy: The wounds that the CBFC is seeking to salve by holding up the release of a film that was already cleared by its regional office in Thiruvananthapuram are entirely imaginary. As the Court itself noted, not one protest has erupted in the state. Not only is the CBFC going beyond its remit to decide what filmgoers in India can and cannot watch, it is hypothesising about how they might feel about a film and acting on it before the film has even been released. The CBFC has a long history of attempting to circumscribe artistic space and infantilising the audience, but in Kerala the case of Janaki v/s state of Kerala has an especially disturbing resonance given the controversy in March over L2: Empuraan, which suggests that the ground may indeed have shifted. In Empuraan's case, it was not the CBFC that posed the problem, but some social media users and members of the Sangh Parivar who took offence to its depiction of the 2002 Gujarat riots. That the producers of the film and its star, Mohanlal, apologised and agreed to 'voluntary modifications' to dialogues or scenes that may have 'pained' anyone betrayed a sense of being under siege, not by the scissors of official censorship, but by 'sentiments' of the easily offended. Some in the Malayalam film industry have sought to trace the current controversy back to the capitulation seen during the L2:Empuraan episode, arguing that ceding space to the hurt sentiments brigade at that time has normalised such reactions. That may not be entirely fair; we've been seeing similar controversies and capitulations in the Hindi film industry for a while, after all. Malayalam cinema has, so far, been protected by the unselfconscious sense of religious harmony that has long characterised it and which has mostly kept artistic freedom and creativity from being hijacked by manufactured outrage. Could the furore over Janaki v/s… — whose producers have agreed to add the initial 'V' before 'Janaki' in the title, besides two more cuts — herald a narrowing of this space?
Time of India
28-06-2025
- Entertainment
- Time of India
Andaz Apna Apna 2 confirmed: Aamir Khan, Shah Rukh Khan and Salman Khan to star together? 'The three of us are...'
Aamir Khan has officially confirmed that a sequel to the 1994 cult classic Andaz Apna Apna is currently in development. The actor shared that filmmaker Rajkumar Santoshi is actively working on the script for the second installment. While speaking in a recent interview, Aamir mentioned that the project is still in the scripting phase, and if everything proceeds as expected, the much-anticipated sequel could go on floors soon. The original film, which starred Aamir alongside Salman Khan , Karisma Kapoor, and Raveena Tandon, didn't perform well during its initial theatrical run but gained immense popularity over the years, becoming one of Bollywood's most beloved comedies. Its quirky humor, memorable characters, and iconic dialogues have contributed to its long-standing fanbase, many of whom have been eagerly waiting for a follow-up. Three Khans Open to Collaboration Apart from discussing the sequel, Aamir also touched upon the possibility of a film featuring him with Shah Rukh Khan and Salman Khan. According to him, all three actors are keen to work together but are waiting for a script that fits the stature of such a collaboration. Aamir noted that the trio is open to teaming up as long as the material is compelling and suits their collective dynamic. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like New Container Houses Indonesia (Prices May Surprise You) Container House | Search ads Search Now Undo While reflecting on what kind of film the audience might enjoy from the three Khans, Aamir said he posed the question to fans. The overwhelming response was for a comedy. He acknowledged that fans want to see them in a light-hearted, entertaining project and agreed that comedy would be the ideal genre for such a union. 'Sitaare Zameen Par' Marks Aamir's Return These announcements come just as Aamir returned to the silver screen with Sitaare Zameen Par, which was released on June 20. The film, directed by RS Prasanna, marks his comeback after a three-year hiatus following the box office failure of Laal Singh Chaddha in 2022. Sitaare Zameen Par features Genelia D'Souza opposite Aamir and introduces several newcomers, including Aparna Purohit, Aroush Datta, Vedant Sharmaa, and Rishi Shahani. It also includes performances by veteran actors like Dolly Ahluwalia Tewari and Brijendra Kala. The film has been receiving positive feedback from audiences, further boosting Aamir's current momentum. The confirmation of Andaz Apna Apna 2 and the possibility of a collaboration between Bollywood's three biggest stars have sparked excitement among fans. Many are hopeful that the sequel will live up to the original's legacy and that the Khan trio will find the right opportunity to share the screen. For now, all eyes are on Rajkumar Santoshi's script, which could bring one of Bollywood's most-loved stories back to life.
India Gazette
25-06-2025
- Entertainment
- India Gazette
Filmmaker Rajkumar Santoshi meets J-K LG Manoj Sinha in Srinagar
Srinagar (Jammu and Kashmir) [India], June 25 (ANI): Filmmaker Rajkumar Santoshi met with Lieutenant Governor Manoj Sinha on Wednesday here, a release said. The 'Khakee' director was accompanied by Shri Pradeep Sharma, Founder and Shri Rahul Nehra, Founder & Managing Director of Citara Group. The delegation discussed with the Lieutenant Governor about promotion of film-related activities in the Kashmir valley. The representatives of Citara Group also outlined their plans to set up a film city in Srinagar and to open a cinema hall and a film Museum in Pahalgam. Meanwhile, on the film front, in the coming months, Rajkumar Santoshi is all set to come up with 'Lahore 1947', which stars Sunny Deol in the lead role. The shooting for Lahore 1947 was concluded in 2024 after an intensive 70-days schedule. For Lahore 1947, Aamir Khan has tepping into the role of producer, bringing his vision and expertise to the project through Aamir Khan Productions. Preity G Zinta, Veteran actor Shabana Azmi and Ali Fazal are also a part of the film. (ANI)
Time of India
22-06-2025
- Entertainment
- Time of India
Sunny Deol on 35 years of 'Ghayal': It challenged me and showed the power of storytelling
Sunny Deol , on Sunday, took to social media to mark a major milestone in his career-the 35th anniversary of his iconic film "Ghayal." Released in 1990, Rajkumar Santoshi 's directorial cemented Deol's place as a powerful performer in the film industry. In a heartfelt post, the 'Gadar' actor reflected on the journey of bringing the character of Ajay Mehra to life. Calling it more than just a role, Sunny Deol shared how deeply personal the film is to him. Taking to Instagram, the 'Border' actor posted a video compiling his powerful scenes and dialogues from the action drama. Alongside it, he wrote, "35 Years of #Ghayal! Today marks 35 years since we first released Ghayal. It feels like yesterday when we brought Ajay Mehra's story to life-his courage, his conviction, and the spirit of justice that still resonates with audiences. This film was more than just a role-it was a piece of my heart. It challenged me, inspired me, and showed the power of storytelling." Netizens flocked to the comments section to celebrate the milestone. One user commented on the post, "The original and best action hero in Bollywood." Another said, "My best childhood movie." A third user wrote, "Nostalgic watched at childhood ! 90s period was best." "Ghayal" marked the directorial debut of Rajkumar Santoshi. Produced by veteran actor Dharmendra, the film featured Sunny Deol in the lead role, alongside Meenakshi Seshadri, Raj Babbar, and Amrish Puri. The supporting cast included notable names like Moushumi Chatterjee, Annu Kapoor, Om Puri, Sharat Saxena, and Sudesh Berry. The film was a major box office success. It ranked as the second highest-grossing film of 1990, solidifying its place as one of the standout releases of the year. Sunny Deol is next gearing up for the release of his film "Border 2," which also stars Varun Dhawan, Diljit Dosanjh, and Ahan Shetty. Directed by Anurag Singh, the war drama is slated to hit theatres on January 23, 2026.
