The Controversial Indian Film Industry

November 21, 2017

The Controversial Indian Film Industry

Padmini Arhant

Indian Cinema on the brink of collapse never spare any opportunity in profiteering on ventures jointly funded by local and foreign investments in film making deploying tactics that are far from genuine representation in creativity and originality expected in the arts and entertainment field.

The film makers beginning with production house financing the project to director and actors are geared towards profitability, fame and fortune besides complicity in distortion of history and events inducing controversy in the name of free speech.

The series of films that have been released recently in the past decade by Indian film industry is targeted and isolated subjecting the lead characters in the theme to mockery and ridicule. The trend is unprecedented for there has not been such attempts against high profile personalities in Indian domain.

The sudden urge and frenzy to exercise free speech by movie makers and the so-called artistes who are evidently the narcissists usually at loss of words against corrupt regimes in power continually bankrupting economy and depriving the poor, the weak, vulnerable and the voiceless in society is collusion undermining others individual rights and historic facts.

The other factor being the financial prospects and wanton publicity for the actor serving as incentives interpreted otherwise to maintain status quo.

Interestingly, the perception that actors are performers expected to fit into a role in a story line regardless of the content aimed at vilification of specific person and oblige director’s instructions, the same is not applied to the present event in the pre-ordained cosmic activity and commandment from no ordinary film director but the Supreme entity that cannot be retracted simply to satisfy the whims and fancies of those bent on wreaking havoc world over at will.

Unlike the actors having choices to distance themselves from contemporary practice i.e. provocative and confrontational projections using cinema as the medium to incite emotions and violence,

The prevalent challenges to contain forces responsible for humanity suffering and existential danger to planet survival with nuclear threats are not some fantasy or concocted cinematic formula that could be retreated at film industry’s harassment.

Arguably, Indian cinema and crew behind the spin arousing feelings and diverse attacks from all directions care less about humanitarian woes and more drawn towards personal gains and benefits. There are no inhibitions in the film industry used as arsenal for propaganda and incendiary characterization of legends or anyone considered a fair game depicting them with unjustified contempt and prejudice.

The political alliance on these occasions clarify opportunism and expediency.

The West Bengal government headed by Chief Minister Mamata Banerjee is yet to accept responsibility for gross negligence and dereliction of duty in the series of disasters related to numerous incidents whether that be high infant mortality in government hospital failing to prevent 35 children deaths in one sweep or the consecutive Kolkata fire accidents in a hospital consuming 90 people at a time due to lack of government preparedness and emergency rescue operation are merely the tip of the iceberg.

Furthermore, Kolkata is stigmatized for having become the terror haven providing refuge to terror enabling Indian Mujahideen (IM) operatives and cross border activity from Bangladesh. These issues related to West Bengal and national security together with alleviating poverty, disease and deepening social inequality having been the signature feature of West Bengal and India’s coveted film director Satyajit Ray earning glory and acknowledgment in the western entertainment industry especially among the colonial remnants reminiscing the imperial era could be the incumbent Chief Minister Mamata Banerjee’s priority.

Instead, the Bengal Chief Minister advocacy on free speech to impress upon foreign sources fueling misrepresentation and subversion of Indian history through Indian cinema under the guise of freedom of expression unnecessarily provoke reaction. Notwithstanding the overture from those in Indian film industry and politics slighting sentiments and ignoring constitutional rights of community voicing concerns over the deliberate and intentional false portrayal of the main character claimed as adaptation of legendary figures from Indian history is inflammatory.

The current political stance on these issues contrast opinions and approach by those involved in India’s freedom struggles who exemplified patriotism and intellect in defiance to assault on Indian ethos and legacy.

Again, certain Indian film makers seem to be oriented in appeasing elements both domestic and offshore stirring communal divide rather than expending resources and talent in exhibiting India’s rich cultural heritage that was safeguarded with sacrifice and valor by women defending their honor and pride unlike the tradition witnessed in the present time.

Finally, in order to resolve any conflict or dispute, understanding the basics and origin of the problem is important. The production company Viacom 18 behind the contentious movie attracting fury and favor is a 50/50 joint venture operation between privately owned company India’s Network 18 based in Mumbai and American media company Viacom experiencing decline with imminent demise of Viacom Chairman, the ailing 93 years old Sumner Murray Redstone, the multi-billionaire who is the controlling shareholder of media conglomerate Viacom and of CBS Corp., perhaps choose to remain oblivious to consequences of profit driven strategy exploiting culture and cultural integrity.

Thank you.

Padmini Arhant

Author & Presenter PadminiArhant.com

Spouse in Divine Mission

 

 

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