CBFC’s Cut List for Panjab ’95 Grows from 21 to 127: Honey Trehan Reveals Surprising Demands

Panjab ’95, featuring renowned actor Diljit Dosanjh, has faced significant hurdles in its release due to demands from the Central Board of Film Certification (CBFC) for extensive cuts. Director Honey Trehan has publicly shared the challenges he encountered during the certification process, revealing that some CBFC officials even suggested the film should be abandoned altogether. The film’s journey has been fraught with complications, leading to a staggering total of 127 cuts requested by the board, raising concerns about censorship and the portrayal of historical events.

Director’s Struggles with CBFC

In a candid discussion with comedian Kunal Kamra, Honey Trehan recounted the difficulties he faced while trying to get Panjab ’95 certified. The CBFC’s Examining Committee initially provided a list of 21 points requiring modifications, which Trehan argued would compromise the film’s integrity. He emphasized that the film is based on the true story of Jaswant Singh Khalra, a significant figure in the events depicted. Despite his protests, the committee insisted on removing references to Khalra, leaving Trehan feeling that the demands were unjustified and lacking valid reasoning.

Trehan’s frustrations grew as he sought legal recourse, hoping the courts would provide clarity on the cuts. However, he encountered a series of lawyers who seemed more focused on assumptions about potential law and order issues rather than addressing the specific cuts. During one court session, a judge expressed disbelief that the lawyers had not seen the film, highlighting the absurdity of their arguments. The judge’s request for a copy of the film underscored the lack of understanding surrounding the project.

Escalating Demands for Cuts

As the legal battles continued, the situation worsened for the filmmakers. Initially facing 21 cuts, the number quickly escalated to 45, then 65, and eventually reached a staggering 127 cuts. Trehan described the process as disheartening, noting that even after numerous modifications, the CBFC officials continued to express concerns about the film’s content. He recounted a meeting where officials remarked that the film’s impact remained strong despite the extensive cuts, questioning the necessity of such drastic measures.

The director revealed that the CBFC’s demands included the removal of sensitive references to locations, historical figures, and terms related to the political landscape. Specific requests included omitting mentions of Indira Gandhi and the Punjab Police, as well as the removal of scenes depicting significant events. Trehan expressed his dismay at the censorship, stating that it felt as though they were attempting to erase a part of history.

Impact on the Film’s Release

With the mounting pressure from the CBFC, Trehan ultimately agreed to the extensive cuts, despite his reservations. He conveyed his concerns to producer Ronnie Screwvala, suggesting that the film’s integrity would be compromised if released in its heavily edited form. Trehan insisted that if the film were to be released with 127 cuts, neither he nor Dosanjh should be associated with it, highlighting the ethical dilemma faced by the filmmakers.

The situation took a further turn when Trehan revealed that the CBFC’s new CEO had not even viewed the uncut version of the film. Instead, he planned to watch a version already altered by numerous cuts. Trehan’s frustration was palpable as he questioned the fairness of the process, especially in light of other films that had been released without similar scrutiny. He pointed out the inconsistency in how different films were treated, raising concerns about freedom of expression in the industry.

Calls for Fair Treatment

In closing, Honey Trehan expressed his disappointment with the treatment of Panjab ’95 compared to other films that have tackled sensitive subjects. He noted that films like The Kashmir Files and The Kerala Story were released without significant issues, questioning why his film faced such stringent restrictions. Trehan’s remarks underscored a broader conversation about censorship and the challenges filmmakers face when addressing historical and political narratives.

As the situation continues to unfold, the fate of Panjab ’95 remains uncertain, with the filmmakers advocating for a fair evaluation of their work. The ongoing dialogue surrounding the film highlights the complexities of artistic expression in the face of regulatory challenges, raising important questions about the balance between creative freedom and societal sensitivities.

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