Ban, Begum Jaan and bigotry

Begum Jaan, a film made on a brothel stuck in the partition of two countries, revolves around the two or three trending topics of the day, namely women (their honour and safety), Pakistan and religion.

The Central Board of film Censors in Pakistan has promptly banned the film even without watching it. The film makers were told that it is the government policy as far as films on partition are concerned. Not that Pakistan has not allowed films to be made on the Partition by Pakistani filmmakers, the last one possibly Manto (2015) by Sarmad Sultan.

But then imposing a ‘ban’ is obviously popular with states, be it India or Pakistan.

While any kind of ban is cringe-worthy in the world of art and culture, the word has acquired of late a new meaning—defending/protecting your culture. Both India and Pakistan seem to be fond of ‘protecting’ culture’ by banning films, TV serials, artists, beef, liquor and moral policing ostensibly to keep women safe.

In Begum Jaan, a scene clearly reminds of Manto’s heartrending story Khol Do.

Although the film has received indifferent reviews, most critics suggest that it is a case of a great subject treated shoddily by the film-maker.

The film, by the way, boasts of 20 national award winner actors coming together and actor Chunky Pandey in a memorable villainous role.

The response to the film’s morning and afternoon shows on the first day have been encouraging, the film halls showed 20% occupancy, which is a significant one considering the heat outside and the film’s A certificate.

The film’s earnings apart, its release and topic in such times makes one wonder if a vague (Radcliffe) line marked on land could cast such a dark shadow for so long on the souls of two countries, how long will the scars of violence in the name of religion and women’s safety would take to heal.