Niharika Lal (BOMBAY TIMES; August 19, 2019)

Take a look at this — ‘Use of certain expressions in this film are purely for dramatising the performances’, or ‘This film does not support the use of expletives’, or even ‘Under the Hindu Marriage Act polygamy is illegal in India’. These detailed and explanatory sentences are disclaimers that have been carried with films recently. From the standard disclaimer, ‘All the characters and events depicted are fictitious…’ to those like the ones mentioned above, disclaimers in films seem to have entered a new territory.

In the beginning of Batla House, a disclaimer states that the film is “based on events and information only available in the public domain”. And that the film is “not a documentary and is not intended to accurately reflect events”.

Be it Kalank, which had three to four frames just of disclaimers, to last year’s Padmaavat, which had a disclaimer for every aspect of the film, disclaimers seem to have become long-form writing, with detailed ones for every topic — social, political, religious — that might spark an outrage. They are no longer a few lines, disclaimers have now become lengthy paragraphs — there can be even five-six disclaimers — covering every possible aspect, that can “hurt sentiments”, thereby leading to protests and landing filmmakers in trouble.


‘DISCLAIMER’S A MUST FOR FILMS THAT ARE BASED ON HISTORICAL INCIDENTS’
Currently, each film carries around three to four disclaimers. A Central Board of Film Certification (CBFC) official tells us, “The CBFC panels do not ask the producers to add any disclaimers without watching the film. We suggest disclaimers only when a film has a historical/research-based/non-fiction premise, because sometimes ,filmmakers simply write ‘inspired by true events...’ which is vague. However, it differs from case to case.”

Last year, when Padmaavat was banned in multiple states as protests ensued regarding the depiction of Rani Padmavati and the Rajput history in general, the filmmakers issued seven declarations and clarifications through full-page newspaper ads even before the film released. Also, the film had one of the longest disclaimers ever, including explanation of the dance forms and clothes in the film not claiming historical authenticity. Another film that was banned in several states was Ashutosh Gowariker’s Jodhaa Akbar (2008), again for allegedly depicting wrong history of the Rajputs. Ashutosh was reportedly quoted as saying, “There’s a disclaimer about the Rajput queen’s name at the beginning of the film. But to see that, the protesters have to see the film.” The said disclaimer clarifies that historians do not agree with Jodhaa’s name.


‘DEPENDING ON THE SUBJECT, FILMS CAN HAVE FIVE-SIX DISCLAIMERS’
Some CBFC officials complain that filmmakers put lengthy disclaimers to get away with anything and everything. A CBFC member says, “These days, lengthy disclaimers are used frequently in films so that filmmakers don’t get into unnecessary trouble. They don’t want any ‘hurting sentiment’ arguments to halt the release of the film, which is why they add them.” Last year, before the Akshay Kumar, Rajinikanth-starrer 2.0 released, Cellular Operators Association of India (COAI) sent a legal notice to the film’s producers, alleging that the film has “obscurantist and anti-scientific attitudes towards mobile phone, towers and mobile services”.

But a disclaimer in the film was added even before the objection, stating, “The theme of this film is based on an article that appeared in various newspapers and social media platforms. The characters and events depicted in this film are purely a work of fiction.”

Depending on the subject of the film, the number of disclaimers can go up. An Information and Broadcast Ministry (I&B) official tells us, “The number of disclaimers can go up to even five-six — it depends upon the subject of the film. There is a disclaimer for the subject being fictional, against consumption of nicotine products, for animals not being hurt etc. As per I&B’s 2016 circular to filmmakers, if a movie has rash driving scenes, filmmakers also have to add a disclaimer stating that ‘Performing such scenes by the audience may violate traffic laws/rules hence should not be emulated’.”


‘COURTS ASK FILMMAKERS TO ADD DISCLAIMER TO PROTECT THEIR ARTISTIC FREEDOM’
“There have been instances where the courts have asked films to include a disclaimer, so as to protect the filmmaker’s artistic liberty,” says an I&B official. In one such instance, in 2012, during the release of Chakravyuh, Bata India Ltd moved the Calcutta High Court, objecting to the lyrics of the song Mehangai. The lyrics were, “Birla Ho Ya Tata, Ambani Ho Ya Bata, Sabne Apne Chakkar Mein Des Ko Hai Kaata.” The Calcutta HC refused removal of the song, but asked the filmmakers to add a disclaimer to the song. The disclaimer, which appears in the beginning of Chakravyuh, states, “Use of the names in the song are merely as example. No injury or disrespect is intended to any particular person or brand.”

One movie in which a disclaimer was inserted after its release was Once Upon A Time In Mumbaai (2010). The Lucknow Bench of Allahabad HC directed the makers of the film to add a disclaimer before the start of the film, stating that the character of Rehana, played by Kangna Ranaut, has no resemblance with the ’50s actress Rehana. Anurag Kashyap’s 2016 release Udta Punjab was again in trouble with the censor board as the CBFC had asked the makers to remove Punjab references. The Bombay HC ruled in favour of the film, but asked to change the disclaimer. The modified disclaimer reads, “...Punjab has been a highway of drugs and not the end consumer”. In fact, the film had four frames of disclaimers, all revolving around the use of expletives and drugs.

SOME DISCLAIMERS THAT ARE SEEN IN FILMS CURRENTLY

Padmaavat: The film Padmaavat is inspired from the epic poem Padmavat, written by Malik Muhammad Jayasi,which is considered a work of fiction. This Film does not infer or claim historical authenticity or accuracy in terms of the names of the places, characters, sequence of events, locations, spoken languages, dance forms, costumes and/or such other details. We do not intend to disrespect, impair or disparage the beliefs, feelings, sentiments od any person(s), community(ies) and their culture(s), custom(s), practice(s) and tradition(s)

Chakravyuh: Use of the names in the song are merely as example. No injury or disrespect is intended to any particular person or brand

OMG: OMG Oh My God! is the journey of the protagonist who discovers his faith through the happenings and occurrences in his life and goes from being a non-believer to a believer. The film is meant for entertainment purposes only and we do not intend to hurt the sentiments of any individual, community, sect or religion

Gangs Of Wasseypur: Wasseypur is an actual place located in Dhanbad, a district of Jharkhand (esrtwhile Bihar). Though the film is based on real incidents, reported widely in media, it is a fictionalised account of the same. Names and timelines have been changed and the related incidents have been fictionalised for dramatic purposes. The film has NOT been shot in the real locations of Wasseypur

HOLLYWOOD RELEASES IN INDIA

In 2009, when Avatar was to be released in India, a religious group asked James Cameron to attach a disclaimer at the beginning and end of the film, explaining that it has no relationship with Hinduism or its concepts

In 2006, Sony Pictures had rejected a CBFC notification, which stated that a disclaimer had to be put at the beginning and end of the film The Da Vinci Code to clarify that it is a work of fiction, which eventually delayed its release

Lasyapriya Sundaram (BOMBAY TIMES; August 28, 2017)

The National Award winner on sharing the screen with Rajnikanth, battling stereotypes and travelling between films
Kunal Guha (MUMBAI MIRROR; June 11, 2017)

‘Ashutosh wanted to cast me in Jodhaa-Akbar, too,’ says Nitish Bharadwaj, who returns with Mohenjo Daro
Chaya Unnikrishnan (DNA; July 18, 2016)


What kept you away from films for so long?
I am doing various things in life. I love photography, have written a book In Quest of God: A Pilgrimage to Kailash-Manasarovar, directed a Marathi film Pitruroon and am now writing my second script for a Hindi film, which will be a period drama. The last one year I have been talking to endologists and archaeologists as part of research for my film. In between, I also anchored a TV show for Sri Sri Ravi Shankar’s channel and am doing the play Chakravyuh. But yes, as far as acting in films is concerned, my last release was K Vishwanath’s Sangeet with Madhuri Dixit and that was 20 years ago.

What prompted your comeback to films with Mohenjo Daro?
In terms of cinema nothing challenging and different was coming my way. Whereas Mohenjo Daro’s Durjan Kaka is completely different from what people have seen me as Krishna. Durjan is a mere mortal firstly and secondly unlike Krishna he is an emotional man. The only similarity is Krishna was a mysterious man and so is Durjan. And that has a huge impact on the entire story. Not only was the role challenging, even the look is completely different.

Tell us about it?
As Hrithik’s uncle I am supposed to be 20 years older to him, but I think in real life we must only be eight-ten years apart. Also, I am playing an indigo farmer. This was a huge challenge. We did not want to use prosthetics, because not only is it time-consuming, but it also looks artificial. It works if you have to show transformation from young to old or some kind of a syndrome like in Paa. So, Ashu and I had to work on the look. We decided I will sport a natural stubble, wear moustache and completely change the colour tone of my face and body. We tried various types of moustaches to go with the character of Durjan, who is a sensitive, emotional man, but a little mysterious. After trying seven-eight type of moustaches, one clicked with both of us. I went to Bhuj two days in advance and the first scene I shot was for the climax scene which probably appears in the last one minute of the film! That day Hrithik was not shooting. The next day when he arrived, Ashu showed him the scene and he was impressed. He said, ‘The actor is very good, who is he?’ and Ashu told him it was me. He was shocked — he had met me in my normal look — he said I had transformed completely, like a chameleon. When we interacted he also realised that I am into several things — I gave him my book, showed him the pictures I had clicked and he said the name chameleon holds true in my real life too!

Did you know Ashutosh from before?
Yes, Ashutosh and I are old friends. We have known each other since 1985. We used to hang out together when we were nobodies. Every other evening we used to meet at Ravi Baswani’s house – it was a common adda for many people including Irrfan (Khan). I met him there for the first time and cast him in my serial Gita Rahasya. As for Ashu he called me when he was doing Jodhaa Akbar too. He said ‘I want to work with you’, but he had a problem deciding which role he should cast me. He wanted to give me enough meat to act. He found that in Mohenjo Daro — it’s a tricky role and he didn’t want conventional casting — that of 65-year old man playing the role, because though Durjan is a farmer, he is elegant and cultured. I give him credit for this bold thinking because he did not worry about my image as Krishna. Nobody can take away that image, but he thought I had the ability to get away from my own image. That’s where my theatre background helps me — to experiment with various characters and to feel them.

Why did you choose to play Krishna again, after all these years, in the play Chakravyuh?
When the director came to me with the play it was the typical Chakravyuh story of Abhimanyu and did not have much to offer to Krishna. But his style was very good and poetic like Andha Yug, Rashmi Rathi — which I had not done. I told him look at Kunti and Uttara — they are the first known single mothers. Today it is a common phenomenon — either it is by choice or it’s thrust upon you. What are the challenges of bringing up a child for a single mother —how would it have been 1000 years ago when a woman was completely dependent on man. I told him we could talk about modern concepts arising out of the same story. The script was completely revamped and people loved it. Today, I have the satisfaction of giving something to my audience beyond my serial 20 years ago.

Your next directorial is a period drama. What is the fascination for history?
The fascination goes back to my childhood. My mother was a professor of literature in Wilson College and we had a huge library at home which I got in virasat. I read a lot of literature and history. Ancient India is so beautiful, so different from today’s India that it always attracted me. There’s Indus Valley, Harappa, the Gupta period, the different yugas, the various Inquisitions — they have had a huge impact on Indian civilisation. Wherever there were French colonies, Portugese colonies, etc their culture sponged off on Indian culture. Even the film I am writing dates back to ancient India. It offers me different visuals and challenges me. As an actor and director I want to be challenged.

Rachana Dubey (MUMBAI MIRROR; July 26, 2014)

He's still remembered as Krishna from BR Chopra's Mahabharat which aired on Doordarshan in 1988. Now, a quarter of a century later, the actor Nitish Bhardwaj is gearing up to return to his godly avatar, this time in a Hindi play. Titled Chakravyuh, it's written and directed by Atul Satya Koushik and will be staged in Delhi today.

"When I was offered the play, I thought that we should go beyond the Mahabharat and explain the relevance of the text in today's day and age, particularly Abhimanyu's death in the chakravyuh," explains Nitish who will be een in the mythological attire on stage.

It took a couple of months and a few readings for Atul to give the play the twist they wanted. While working on it, Nitish caught a few episodes of Siddharth Kumar Tiwari's Mahabharat. "The new Krishna (Saurabh Raj Jain) is charming and the special effects are visually appealing. The show is high on production value and well-packaged. The story is also narrated differently," says Nitish.

He is currently casting for his second directorial, after the acclaimed Marathi film Pitrarun. This time it will be a Hindi film. "Hopefully, Tanujaji (actress Tanuja) will be in this film too. I have a couple of meetings with some big actors lined up too. I will make an announcement soon," he says.