Monday, July 4, 2016

No film should require clearances from three courts for release...

This article was first published on GNLU's only student run online magazine - Jury's Out.
‘Udta Punjab’ which released in theatres on 17 June, fought a rather uphill battle to get there. After the much publicised showdown with the Central Board of Film Certification (CBFC) in the Bombay High Court, the film got an A certificate with only one cut but the filmmakers’ legal troubles were far from over. Advocate Wattan Sharma had filed a petition before the Punjab and Haryana High Court calling for a ban on the exhibition of the film in Punjab alleging that the film reflects negative branding of Punjab and Punjabis, while Human Rights Awareness Association, an NGO approached the Supreme Court as well. Udta Punjab is far from the first movie to have to defend itself before courts in the face of petitions calling for bans. It is very common for groups to file Public Interest Litigation calling for a film to be banned on a variety of grounds including the most common ones of being against Indian culture or hurting religious sentiments. In recent years, ‘Finding Fanny’, ‘PK’, ‘Delhi Belly’, ‘Ram-Leela’, ‘Bajrangi Bhaijaan’ and many others have been in this position.
No say for objectors within the certification process
The Cinematograph lays down the certification process that each film must go through before it can be exhibited at any cinema hall in India. First, a film is viewed by an “Examining Committee” formed by the regional officer of the CBFC office where it is submitted for certification. The Examining Committee decides which certificate is to be granted and decides the cuts to be made before it can be granted. If the Applicant is unsatisfied with the decision of the Examining Committee, the applicant may also request the Chairperson of the CBFC to refer any film to Revising Committee. The CBFC Chairperson can also refer the film to the Revising Committee on his own motion. The Revising Committee views the same film print shown to the Examining Committee without any changes and makes its own recommendations with regard to certificate and cuts. Both the Examining Committee and the Revising Committee can also refuse to grant any certification at all which in effect works as a ban on the film in India entirely since under the law, no film can be shown without a certificate. In 1981, the Act was amended and the Film Certification Appellate Tribunal (FCAT) was created, adding a further step to the process. Now, an applicant can approach the FCAT against an order of the CBFC refusing to grant a certificate, granting only an S or A or U/A certificate or ordering for cuts in the film.
However the crucial part here is that only the original applicant for the certificate can lodge such an appeal before the FCAT. Thus, other groups or individuals who are offended by the film and wish that the film not be given any certificate at all (and thereby be banned) cannot approach the FCAT with their grievances. Thus, they resort to filing writ petitions before the High Courts or the Supreme Court and attempt to get films banned.
Amendment required
The present situation creates a situation where groups offended by a film approach the High Courts or the Supreme Court and in some cases like ‘Udta Punjab’ even both or several High Courts. This not only places an additional burden on these constitutional courts which are already burdened with more serious civil and criminal appeals but also creates multiplicity of proceedings where the filmmakers have to get clearance from the CBFC as well as various courts before releasing a film. As happened with Ram Leela and Udta Pubnjab, prolonged delays in litigation can cast doubts about the planned release dates of the movies as well.
One amendment that could easily resolve these issues would be to allow any person or organization which has an objection to the release of any film in any state to approach the FCAT against the decision of the CBFC granting a certificate to that film. In such a scenario, the FCAT which is a specialized film tribunal will be able to address the appeals of the filmmakers as well as the other interested parties in a single proceeding and its decision shall be final. The FCAT is adequately equipped to handle other petitioners’ legal and constitutional arguments as well since the Cinematograph Act already requires that the chairperson of the FCAT be a retired High Court Judge or a person qualified to be appointed as a High Court Judge.
Adopting such a procedure shall reduce the uncertainty that the filmmakers face and shall also help them to reduce legal costs as they would have to defend themselves before a single forum rather than many. Finally the courts shall be rid of the burden of the film related petitions and shall be able to apply their time towards more pressing legal and constitutional matters. It is high time that the Parliament realises that the time of three of its constitutional courts need not be spent on the matter of release of a single film.
This article was first published on GNLU's only student run online magazine - Jury's Out.

No film should require clearances from three courts for release...

This article was first published on GNLU's only student run online magazine - Jury's Out.
‘Udta Punjab’ which released in theatres on 17 June, fought a rather uphill battle to get there. After the much publicised showdown with the Central Board of Film Certification (CBFC) in the Bombay High Court, the film got an A certificate with only one cut but the filmmakers’ legal troubles were far from over. Advocate Wattan Sharma had filed a petition before the Punjab and Haryana High Court calling for a ban on the exhibition of the film in Punjab alleging that the film reflects negative branding of Punjab and Punjabis, while Human Rights Awareness Association, an NGO approached the Supreme Court as well. Udta Punjab is far from the first movie to have to defend itself before courts in the face of petitions calling for bans. It is very common for groups to file Public Interest Litigation calling for a film to be banned on a variety of grounds including the most common ones of being against Indian culture or hurting religious sentiments. In recent years, ‘Finding Fanny’, ‘PK’, ‘Delhi Belly’, ‘Ram-Leela’, ‘Bajrangi Bhaijaan’ and many others have been in this position.
No say for objectors within the certification process
The Cinematograph lays down the certification process that each film must go through before it can be exhibited at any cinema hall in India. First, a film is viewed by an “Examining Committee” formed by the regional officer of the CBFC office where it is submitted for certification. The Examining Committee decides which certificate is to be granted and decides the cuts to be made before it can be granted. If the Applicant is unsatisfied with the decision of the Examining Committee, the applicant may also request the Chairperson of the CBFC to refer any film to Revising Committee. The CBFC Chairperson can also refer the film to the Revising Committee on his own motion. The Revising Committee views the same film print shown to the Examining Committee without any changes and makes its own recommendations with regard to certificate and cuts. Both the Examining Committee and the Revising Committee can also refuse to grant any certification at all which in effect works as a ban on the film in India entirely since under the law, no film can be shown without a certificate. In 1981, the Act was amended and the Film Certification Appellate Tribunal (FCAT) was created, adding a further step to the process. Now, an applicant can approach the FCAT against an order of the CBFC refusing to grant a certificate, granting only an S or A or U/A certificate or ordering for cuts in the film.
However the crucial part here is that only the original applicant for the certificate can lodge such an appeal before the FCAT. Thus, other groups or individuals who are offended by the film and wish that the film not be given any certificate at all (and thereby be banned) cannot approach the FCAT with their grievances. Thus, they resort to filing writ petitions before the High Courts or the Supreme Court and attempt to get films banned.
Amendment required
The present situation creates a situation where groups offended by a film approach the High Courts or the Supreme Court and in some cases like ‘Udta Punjab’ even both or several High Courts. This not only places an additional burden on these constitutional courts which are already burdened with more serious civil and criminal appeals but also creates multiplicity of proceedings where the filmmakers have to get clearance from the CBFC as well as various courts before releasing a film. As happened with Ram Leela and Udta Pubnjab, prolonged delays in litigation can cast doubts about the planned release dates of the movies as well.
One amendment that could easily resolve these issues would be to allow any person or organization which has an objection to the release of any film in any state to approach the FCAT against the decision of the CBFC granting a certificate to that film. In such a scenario, the FCAT which is a specialized film tribunal will be able to address the appeals of the filmmakers as well as the other interested parties in a single proceeding and its decision shall be final. The FCAT is adequately equipped to handle other petitioners’ legal and constitutional arguments as well since the Cinematograph Act already requires that the chairperson of the FCAT be a retired High Court Judge or a person qualified to be appointed as a High Court Judge.
Adopting such a procedure shall reduce the uncertainty that the filmmakers face and shall also help them to reduce legal costs as they would have to defend themselves before a single forum rather than many. Finally the courts shall be rid of the burden of the film related petitions and shall be able to apply their time towards more pressing legal and constitutional matters. It is high time that the Parliament realises that the time of three of its constitutional courts need not be spent on the matter of release of a single film.
This article was first published on GNLU's only student run online magazine - Jury's Out.

Tuesday, June 14, 2016

European Oddity

What unit do you use to measure liquids? Ask any person in India and you shall get a single answer. “Litre” Be it any quantity, from small to ultra huge, liquids are invariably measured in litres and litres alone. From soft drink cans to huge tankers carrying water or fuel on the roads, however big or small the quantity, the only unit used is litre.
In school we have seen this chart -

Image from: http://hinkhousescience.weebly.com/metric-mini-unit1.html 

But in real life we never really use decilitres or centilitres. Even in Singapore where metric system is used more than in India, for example centimetres are used to measure human height while most Indian stick to feet and inches, with regard to volume I never saw anybody use any unit other than litres.

In Europe however, dl or decilitres were just everywhere. The volume of all small beverages on offer was quoted either in decilitres or centilitres for really small quantities. Check out these pictures from Hungary.

Lemonade


 


This is a european oddity indeed!

Saturday, April 23, 2016

Lansdowne

Last summer I went to Lansdowne, the beautiful hill station in Uttarakhand and absolutely loved it. I have written a travelogue of this visit for the GNLU magazine, Jury’s Out. Check it out here - https://jurysoutblog.wordpress.com/2016/03/28/lansdowne-an-eco-friendly-military-town/


It was very pleasant even in the summer. I strongly recommend it to anyone planning a summer trip!

Tuesday, December 15, 2015

Book Review: The Bestseller She Wrote by Ravi Subramanian

“He stopped his lecture soon thereafter and they broke into Q&A.” That was how the first chapter ended and it had me frowning. First chapter over, eight pages done and yet no murder! It had me scratching my head, was this a Ravi Subramanian novel at all?

Sure, the cover and the back says “Love. Betrayal. Redemption.” But then who takes the blurbs seriously? Bankerupt mentioned emu farming on the cover, but it was an out and out banking thriller i.e. exactly the fare we have come to expect from Ravi Subramanian.

So first things first, if you are a die hard Ravi Subramanian fan hoping for a traditional thriller, you are in for a shock. This book for most part is a romance novel with some elements of a thriller dropped in right at the end. After doing some digging on the internet, I found out this article where he has made it clear that with this novel he is targeting a new audience. However, I am sure that like me, many others are going to pick this up expecting something else because, by the virtue of his creative marketing efforts for his previous novels and having often been described as the John Grisham of Indian banking, as of now atleast, he has definitely been type cast as a thriller writer in the eyes of the ordinary reader.

The Bestseller She Wrote begins with the lead protagonist, Mr. Aditya Kapoor, the author of five bestsellers meeting Shreya, an aspiring author at an IIM-B campus event. The middle aged author loves the attention he gets from the young MBA grad while Shreya enjoys her access to his inputs on writing. Aditya gets her on his team at the National Bank and soon it is inevitable that the mentor-mentees shall be lovers, nevermind the fact that he is married. Though Aditya keeps getting enmeshed further and further in his lies, we are kept guessing about the genuineness of Shreya’s feelings as she alternates between expressing her love for Aditya and milking him for his publishing industry contacts. As all affairs play out, the deception is uncovered and Aditya tries to call off the affair while his wife goes through a crisis, only to find that Shreya has left him no way out. Backed into a corner, Aditya uncovers some secrets about Shreya which help him ultimately reconcile with his wife. It is towards this masala ending that Ravi Subramanian tries to make the love story seem like a thriller. But at the end, the explanations seem barely satisfactory and I was also annoyed (as I often am) by the few pages where the protagonist has found a way out of the predicament and is acting upon it but the author/narration doesn’t reveal it to us for many more pages.

All in all the story by itself is rather predictable and the ending seemed barely satisfactory. If I had to nitpick, I would also point out that some of the relationship stuff is wayyy unlikely. For example, they flirt and sext on SMS! Yes SMS in the world of WhatsApp and Snapchat. And the girl’s bestfriend is particularly pally with the girl’s boyfriend whom she doesn’t even approve of much. Like seriously? I am sure many guys wish that girl gang loyalty was so easy to breach and be able to turn one girl against the other but I have never heard of this actually happening. The more intimate scenes could also have been a little more imaginative.

That said, despite the not-so-great plot, the book does have a super redeeming quality, that kept me turning the pages. The book is flooded with references to real life events and publishing industry inside info. The protagonist Aditya Kapoor who is a superstar author keeps giving gyan about how to become a super-star author. What makes it even more interesting is that Aditya Kapoor has several traits of the current super stars of the publishing industry. He is a banker like Ravi Subramanian himself, he is from IIM and gets an offer to judge a reality show like Chetan Bhagat and is heavily involved in promoting his book like almost every author these days. I once even heard Amish promoting his book on the radio. There is so much speculation about who the protagonist is based on that some authors have put out statements to deny that they are him. (Unless that is also merely another marketing tactic from Ravi Subramanian’s team.)

Ravi Subramanian knows a fair deal about marketing his books. I got the first email about The Bestseller She Wrote from the ‘Think WhyNot’ Ad Agency, almost a month before its launch and this book has animated trailers as well! So through his protagonist, Ravi Subramanian gives us a lot of information about how books are marketed today and how celebrity authors obsess over their portrayal by the media. He even mentions book reviews from bloggers as a marketing technique! Furthermore, the book is also full of references to real life events and personalities and many of these references also seem to reflect the author’s attitude. We find reporters being called ‘presstitutes’ while Amish Tripathi and Ravi Subramanian himself are named as Grishams of Indian Banking. Nirav Singhvi also finds a mention and Anurag Kashyap is a minor character in the story. The best digs though are all aimed at Chetan Bhagat.
I don’t want a Chetan Bhagat quote. He might have seen today’s newspaper article and jumped onto the bandwagon for some quick publicity.
So finally, do pick this book if you want a time pass one time read infidelity story with an opportunity to laugh at the famous celebrity authors but if you are actually looking for an unputdownable Ravi Subramanian novel, you would be better off picking God is a Gamer or Bankerupt!

You can buy The Bestseller She Wrote from flipkart here - 


I am reviewing ‘The Bestseller She Wrote’ by Ravi Subramanian as a part of the biggest Book Review Program for Indian Bloggers.

Disclosure : I was supplied with a review copy by Blogadda.