Javed Qamar
UDAIPUR FILES, the movie on the murder of tailor Kanhiya Lal in Rajasthan in 2022, portrays a deeply divisive and inflammatory narrative that has the potential to inflame communal tensions and disrupt public order.
This vile and hurtful film, shockingly, has been approved by the Censor Board and is scheduled to be screened on July 11. The film is not just a bundle of lies but a hate-filled bomb that has the potential to destroy peace and communal harmony in the country.
The film’s trailer, released on June 26, is replete with dialogues and scenes that have disrupted communal harmony at several earlier occasions. It directly references the unfortunate Udaipur incident — the very event this entire film is based upon. The trailer includes courtroom scenes, an illogical and incongruous statement from a sitting chief minister defending blasphemous remarks on Prophet Muhammad’s beloved wife, Ummul Mu’mineen (Mother of the Believers) Hazrat Ayesha, and the offensive statements of the Bharatiya Janata Party (BJP) leader Nupur Sharma which had vitiated the atmosphere of amity in the country, triggering communal violence in several places.
The trailer makes it perfectly clear that the main purpose of the film is to portray a specific community in a negative and prejudiced light. There is also a deliberate attempt to malign the entire leadership of this religious group. Shockingly, Muslim scholars are depicted engaging in immoral acts with young children. This is an abhorrent act in the name of art and freedom of expression — one that deserves the strongest condemnation.
What is both astonishing and deeply disappointing is that the Censor Board, abandoning its own standards and regulations, has approved the film’s release. By doing so, it has violated Section 5B of the Cinematograph Act of 1952 and the related 1991 guidelines that govern public exhibition of films.
It would be apt to recall an incident related to the release of Dilip Kumar’s legendary film Ganga Jamuna, which was also mentioned by the renowned music composer Naushad in his autobiography. In the film’s final scene, when Dilip Kumar is shot, he utters the words “Hey Ram.” The Censor Board strongly objected to this and stated that unless the scene was removed, the film would not get its approval.
That scene was the soul of the film, and the director was unwilling to cut it. Efforts were made to convince the Censor Board members that their objection was baseless — after all, a dacoit is a human being too, and he has the right to call upon his God, whether it be Bhagwan or Allah. After much persuasion, the Board finally relented and granted permission for the film’s release.
This incident reflects how meticulously the Censor Board used to evaluate films before issuing certificates. But now, the situation has deteriorated to the point where bizarre and outrageous films are being produced — and the Censor Board is approving them one after another. It seems as though there is a dearth of meaningful storytelling.
Since 2014, films have been made with a particular ideological agenda, aimed at increasing religious extremism in the country and planting hatred in the minds of the majority against a specific community. Udaipur Files is a deliberate attempt to malign a particular community; it also contains scenes designed to offend their religious sentiments. These scenes are not only hurtful but should also attract penal action.
All this is happening in a country that claims to be secular and democratic, where the Constitution prioritises equality and grants equal rights to every citizen. It explicitly states that no discrimination should be made based on race, religion, or caste. However, one has to acknowledge that religious hatred existed even when the country gained independence after centuries of colonial rule. But, there is a difference: Back then, its scope was limited.
However, over time, this hatred has grown leaps and bounds — primarily because the constitutional directives were not sincerely adhered to. Gradually, sectarian forces gained strength and now they enjoy a firm grip over the country’s governance systems. On one hand, the media is promoting religious extremism, and on the other, films are being weaponised to do the same.
We are now witnessing the violation of the fundamental rights granted under Articles 14, 15, and 21 of the Constitution. A divide is being deliberately created between the majority and the minority. Earlier, ordinary Muslims were the primary targets — but now, even religious figures are being targeted in a new game of vilification.
In the film, offensive remarks have been made about Darul Uloom Deoband — one of the world’s most respected and beloved religious institutions — and prominent religious personalities have deliberately been targeted.
What Maulana Arshad Madani is doing under the banner of Jamiat Ulama-i-Hind is no secret. His organisation has always carried out its welfare and relief work based on humanity, rising above religious divides. In fact, the annual educational scholarships it distributes — worth over two crore rupees — include a large number of non-Muslim students.
Despite this, Maulana Madani remains a thorn in the eyes of communal forces. The primary reason is perhaps his unwavering legal support offered to innocent youths falsely accused and imprisoned on charges of terrorism. There’s no denying the fact that he is a powerful voice against injustice, inequality, and discrimination — and in today’s climate, that itself has become a grave crime.
The film portrays Maulana Madani negatively; as a supporter of terrorists. The truth is that thanks to the legal aid provided by Jamiat Ulama-i-Hind, hundreds of individuals — who had endured years of unjust imprisonment — have been acquitted honourably by the courts. The law of the land grants every citizen the right to seek justice through the courts. But in today’s India, even the legal struggle for justice is being viewed as a crime.
The priorities of those who came to power in 2014 are entirely different — their political ideology runs counter to the Constitution of India. This is why even the Constitution is now being questioned. Shockingly, the Vice President of this great democratic country has gone so far as to call the words “secularism” and “socialism” — included in the Preamble — a “disease,” even though the Supreme Court has not long ago delivered a historic judgment on a petition seeking to remove these words, asserting that secularism and socialism are the soul of the Constitution and cannot be separated from it.
The film Udaipur Files, under the guise of freedom of expression, rejects the pluralistic, inclusive, and secular vision of India enshrined in the Constitution, and the country’s media is actively supporting this narrative. It is important to note that under Section 5B of the Cinematograph Act of 1952, no film can be approved if it is against public order, morality, or decency, or if it incites people to commit crimes.
The 1991 guidelines regarding film certification also clearly state that no film should contain content that harms communal harmony, promotes superstition, contradicts scientific principles, or fosters anti-national sentiments.
We don’t know whether the esteemed members of the Censor Board have even read these rules or not, but by approving such a vile and senseless film like Udaipur Files, they have certainly revealed their political bias.
To stop the release of the film, Jamiat Ulama-i-Hind has already filed a petition in the Delhi High Court. The state units of Jamiat in Maharashtra and Gujarat have also challenged it in court. In this context, a recent statement by Maulana Arshad Madani was published in newspapers, in which he said that this film has been made with the intention of setting fire to the nation’s peace and communal harmony.
It now remains to be seen what the courts decide on this contentious issue.
——-
Javed Qamar is a senior journalist. This article was originally written in Urdu. Translated it into English for Clarion India by M.B. Parvez
