Indian cinema’s tangled history with censorship is a narrative both rich and complicated, characterized by length and adversity. Traditionally, film journalism has been supportive of the industry’s tussles against censorship, advocating for artistic and intellectual freedom as fundamental pillars in any democracy. However, the shared spirit of resistance between creators and commentators of culture seems to be eroding. Filmmakers and producers, who demand openness and discernment from regulatory bodies, are increasingly unwilling to afford the same fairness to the media that covers them.
The fracture in this relationship has been highlighted by several recent incidents. For instance, an influential Bollywood studio recently abolished advance press screenings, while YouTubers have been targeted with copyright strikes for unfavorable reviews. Film critics, journalists, and digital creators are finding it more difficult to deliver honest and insightful reports on Indian films, as the fragile structure allowing for good-faith disagreements threatens to disintegrate.
Undoubtedly, the industry’s wary approach towards the press stems from certain realities. The digital era has blurred the lines between genuine criticism and malicious intent. On platforms like social media, every user is a potential critic or trade analyst. “Paid reviews,” which are welcome when flattering, turn into a menace when utilized by competitors or rival stars. Furthermore, in today’s climate of boycotts and manufactured controversies, even a single remark by an actor can be extracted from context and spread online, potentially jeopardizing a film’s prospects. As a result, many in the industry prefer to limit engagements altogether, opting instead for benign city tours and fan gatherings.
Censorship of the media by Bollywood and regional cinemas is not always overt. Press events and promotional interviews now often occur under controlled conditions, where only praises and trivialities are encouraged while substantial or political inquiries are discouraged. Streaming services tend to control interviews, allowing them to edit out any undesirable or controversial segments before publication. Meanwhile, actors frequently steer clear of political discussions, even when involved in politically charged films.
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This climate of heightened sensitivity has led to significant developments such as the Film Employees Federation of Kerala backing restrictions on negative online film reviews. In a unique turn of events, police in Kerala have even initiated legal actions against online movie reviewers and social media platforms.
The larger ecosystem of entertainment media suffers from undeniable issues. As actor Abhay Deol claimed in a 2021 Gulf News interview, “Many reviews out of India are often political and paid for. Reviewers and critics have lost their credibility.” Monetary transactions aside, access to film stars is now a valued currency. Sensational, provocative positions online are often more attention-grabbing than nuanced criticism. In Indian televised award shows, the existence of a separate ‘critic’s’ category humorously suggests that the primary jury is influenced by commercial pressures.
Filmmakers, production companies, and streaming services unquestionably have a right to protect their interests in this volatile landscape. However, restricting press access is not a viable long-term solution. Large-scale, star-studded releases will attract audiences regardless of critics’ opinions. Yet independent films, which rely heavily on early positive reviews for momentum, will face hardships. Writing fair, thoughtful critiques of cinema involves time and diligence. Hastily crafted reviews churned out in the rush of a film’s release often lack depth and accuracy, sometimes filled with glaring errors.
Furthermore, great art has consistently inspired outstanding commentary. If the film industry truly faces a “credibility crisis” as recently pointed out, it needs to uphold its side of the agreement. By fostering an environment where criticism is met with openness rather than censorship, both creators and commentators can work towards preserving the richness and diversity of Indian cinema.
