Meenakshi Seshadri Cbfc Dacait Diktat Keep Violence Remove Kiss Satluj Ban

The Central Board of Film Certification (CBFC) has once again found itself at the centre of controversy following the Satluj row. But as actor Meenakshi Sheshadri recently pointed out, questions over the board’s seemingly inconsistent standards are far from new. For decades, filmmakers have raised concerns over why certain scenes are cleared in one film while similar content faces objections in another, often without detailed public explanations.

Speaking to Faridoon Shahryar, Meenakshi recalled her association with filmmaker Rahul Rawail and actor Sunny Deol, sharing an anecdote from the making of their 1987 film Dacait.

Recalling Dacait, Meenakshi revealed that the CBFC objected to a kissing scene while allowing much of the film’s violence to remain intact.

“Dacait was such a powerful film. Do you know how Rahul Rawail managed to get it through the censors? There was a song, Kis Kaaran Naiya Dole. At the beginning of the song, Sunny and I had a lip-to-lip kiss. But do you see it in the film? No. The censors said, ‘We will allow some of the violence, but you have to remove the kiss.'”

Her remarks have resurfaced amid renewed criticism of the CBFC’s certification process following the fate of Satluj (originally titled Punjab 95). The film underwent years of delays and was asked to implement 127 modifications before eventually opting for an OTT release. Even then, it was removed from the platform within 48 hours, with the streamer citing “current developments” without offering further details.

The controversy has reignited questions about transparency in the certification process. Critics argue that the board’s decisions often appear inconsistent, with similar themes or scenes receiving different treatment across films.

Examples frequently cited include the A certificate for OMG 2—despite its focus on sex education for adolescents—contrasted with more lenient certifications for mainstream commercial entertainers like Housefull 5 containing sexual innuendo. Similarly, the board initially objected to the protagonist’s name in Janaki vs State of Kerala, reportedly because it referenced Goddess Sita, before later approving the film after the makers modified the title. Yet names such as Sita, Durga and Janaki have appeared in films like Alpha without any objection.

The debate extends beyond individual films. Violent action dramas such as Dhurandhar, The Kashmir Files, The Bengal Files have often reached theatres with relatively minor changes, while other films like Satluj dealing with similar political, historical or social issues have faced prolonged scrutiny, multiple revisions or release delays. The differing outcomes have fuelled calls for greater consistency and transparency in how certification guidelines are interpreted and applied.

Another film caught in certification limbo is actor-politician Vijay starrer Jana Nayagan. Touted as a mass entertainer with family appeal, the film is yet to receive a certification, with the CBFC having not publicly explained the reasons for the delay since January this year.

While the CBFC maintains that every film is assessed on its individual merits and context, filmmakers and audiences alike continue to ask for clearer explanations behind its decisions. Meenakshi Sheshadri’s recollection from nearly four decades ago suggests that these concerns have persisted across generations, making the current debate less about a single film and more about the need for a more predictable and transparent certification process.

Jyothi Jha is an incisive Copy Editor and multi-platform journalist at The Indian Express, where she specializes in high-stakes entertainment reporting and cinematic analysis. With over six years of diverse experience across India’s leading media houses, she brings a rigorous, ethics-first approach to digital storytelling and editorial curation. Experience & Career Jyothi’s career is characterized by its breadth and depth across the media landscape. Before joining the editorial team at The Indian Express, she honed her expertise covering the entertainment beat for premier national broadcasters, including NDTV, Republic Media, and TV9. Her professional journey is not limited to digital text; she has a proven track record as an on-air anchor and has successfully managed production teams within the high-pressure segments of Politics and Daily News. This 360-degree view of newsroom operations allows her to navigate the complexities of modern journalism with veteran precision. Expertise & Focus Areas Guided by the Orwellian principle that "Journalism is printing what someone else does not want you to do," Jyothi focuses on transparent, accountability-driven reporting. Her core areas of expertise include: Cinematic Deconstruction: Analyzing the social subtext of mainstream Bollywood and South Indian cinema (e.g., Kantara, Masaan, Dabangg). Toxic Masculinity & Gender Studies: A vocal critic of regressive tropes in Indian cinema, she often highlights the industry's treatment of women and social progress. Box Office & Industry Economics: Providing data-backed predictions and analysis of film performance and superstar fee structures. Exclusive Multimedia Coverage: Conducting deep-dive interviews and long-form features that bridge the gap between archival history and modern pop culture. Authoritativeness & Trust Jyothi Jha has established herself as a trusted voice by prioritizing substance over PR-driven narratives. Her background in hard news and political production provides her with a unique lens through which she views the entertainment industry—not merely as gossip, but as a reflection of societal values. Readers rely on her for "Journalism of Courage," knowing her critiques are rooted in a deep respect for the craft and a refusal to settle for superficiality. Her ability to pivot between daily news and specialized entertainment analysis makes her a versatile and authoritative pillar of The Indian Express newsroom. ... Read More