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The Malayalam film 'Empuraan', starring Mohanlal and directed by Prithviraj Sukumaran, has become the center of a significant political controversy due to its portrayal of events resembling the 2002 Gujarat riots. This depiction has led to accusations of the film promoting an 'anti-Hindu' ideology, prompting the filmmakers to voluntarily re-edit certain sequences. The controversy highlights the delicate balance between artistic expression and social sensitivity, particularly when dealing with politically charged and historically sensitive events. The film’s narrative, which includes scenes of violence orchestrated against Muslims by individuals associated with a pro-Hindutva political party, has sparked outrage among some groups, who perceive it as a misrepresentation of reality and an attempt to demonize certain communities. This perception has led to online trolling and criticism of Mohanlal and Prithviraj Sukumaran for their creative choices. However, the film has also garnered support from other political factions, notably the Congress party in Kerala, who view it as an exposé of the 'Sangh Parivar's' agenda and its alleged attempts to sow division in the state. This division in opinion underscores the highly polarized political climate surrounding the film's release and the diverse interpretations of its content. The article details the various stages of the controversy, from the initial backlash against the film's depiction of the riots to the decision by the producers to re-edit the controversial scenes. It also explores the reactions of different political figures and organizations, highlighting the complex interplay of political ideologies and artistic freedom. The decision to re-edit the film raises questions about the extent to which artistic expression should be subject to political pressure and the potential chilling effect that such pressure can have on filmmakers and other artists. The controversy surrounding 'Empuraan' serves as a case study in the challenges of navigating sensitive political and social issues in the realm of art and entertainment. It also underscores the importance of fostering open dialogue and critical engagement with artistic works, rather than resorting to censorship or intimidation. The film's success, despite the controversy, indicates the public's appetite for politically relevant narratives, but also the potential for such narratives to ignite controversy and division. Ultimately, the 'Empuraan' controversy highlights the power of cinema to provoke thought, spark debate, and challenge societal norms, while also underscoring the responsibilities that filmmakers have to ensure that their work is both artistically compelling and socially responsible.
The production of 'Empuraan' faced initial hurdles when Lyca Productions, originally slated to co-produce the film, withdrew due to financial constraints. This threatened to delay the film's release, as the trailer had not yet been launched. However, Sree Gokulam Movies stepped in as a producer, ensuring the film's timely release. This highlights the crucial role of financial backing in the success of large-scale film productions and the challenges that filmmakers can face in securing the necessary resources. The controversy surrounding the film's depiction of the 2002 Gujarat riots erupted shortly after its release. Critics argued that the portrayal of the antagonist, Baba Bajrangi, as a member of a pro-Hindutva political party who orchestrates violence against Muslims was biased and inflammatory. This led to calls for the film to be censored or banned. The Kerala Congress, however, praised 'Empuraan' for allegedly exposing the 'Sangh agenda' and its supposed plans to divide Kerala. This endorsement further politicized the controversy, transforming it from a matter of artistic interpretation into a battleground for competing political ideologies. BJP's state secretary, S Suresh, initially stated that the Kerala BJP would not interfere in the matter, asserting that movie lovers were free to watch and criticize the film. However, the film's producer, Gopalan of Sree Gokulam Movies, voluntarily directed Prithviraj Sukumaran to make edits to the film if the scenes had offended anyone. Gopalan emphasized that the intention of making the film was not to hurt anyone and that the audience's happiness was paramount. This decision reflects a compromise between artistic integrity and commercial viability, as the producers sought to mitigate the controversy while still maintaining the film's core message. Murali Gopy, the writer of 'Empuraan', remained silent amidst the controversy. He drew parallels to his earlier film, 'Left Right Left', which also faced criticism but did not result in re-censoring. His silence suggests a reluctance to engage in the political fray and a preference to allow the film to speak for itself.
Director Major Ravi defended Mohanlal, claiming that the actor was unaware of the full script. He also stated that Mohanlal was not present in the scenes depicting the riots and requested that his Lieutenant Colonel rank not be associated with the issue. These claims went viral, prompting criticism of Prithviraj and Murali Gopy for their writing choices. This highlights the hierarchical nature of filmmaking and the potential for actors to be shielded from criticism, while writers and directors bear the brunt of the responsibility. Kerala Chief Minister Pinarayi Vijayan watched 'Empuraan' with his family and expressed his solidarity with the film, emphasizing the importance of protecting freedom of expression. He condemned the communal hate campaign against the film and its creators, characterizing it as a threat to democracy. Vijayan's support for 'Empuraan' further solidified the film's status as a politically charged work and underscored the government's commitment to defending artistic freedom. Mohanlal subsequently issued an apology and announced that certain scenes would be removed from the film. He stated that it was his duty as an artist to ensure that his films did not harbor hatred towards any political movement, ideology, or religion. This apology suggests a recognition of the potential harm that the film could cause and a willingness to compromise in order to appease critics. Prithviraj Sukumaran reposted Mohanlal's apology on his social media page, indicating his agreement with the decision to re-edit the film. Prithviraj's mother, veteran actor Mallika Sukumaran, defended her son and criticized Major Ravi for his 'unnecessary' tirade. She asserted that Mohanlal was fully aware of the script and that her son was being made a scapegoat. Mallika Sukumaran's defense of her son highlights the personal toll that the controversy has taken on the filmmakers and their families.
Empuraan was ultimately re-censored, with approximately three minutes of footage (reportedly the riot scenes) being removed, certain words being muted, and the name of the antagonist Baba Bajrangi being changed. The edited version was released in theaters on April 2nd. This outcome represents a victory for those who criticized the film's depiction of the riots and a setback for those who championed artistic freedom. The controversy surrounding 'Empuraan' raises broader questions about the role of art in society and the limits of artistic expression. Should artists be free to explore any topic, regardless of its potential to offend or provoke? Or should they be mindful of the potential consequences of their work and exercise self-censorship in order to avoid causing harm? There are no easy answers to these questions, and the 'Empuraan' controversy serves as a reminder of the ongoing tension between artistic freedom and social responsibility. The controversy also highlights the power of social media to amplify dissenting voices and shape public opinion. The online trolling and criticism of Mohanlal and Prithviraj Sukumaran demonstrates the speed and intensity with which controversies can erupt in the digital age. Filmmakers and other artists must be aware of the potential for their work to be scrutinized and criticized online, and they must be prepared to defend their creative choices in the face of public pressure. Ultimately, the 'Empuraan' controversy serves as a valuable lesson for filmmakers and other artists about the importance of carefully considering the potential impact of their work and engaging in open dialogue with their audiences. It also underscores the need for society to foster a climate of tolerance and respect for diverse perspectives, even when those perspectives are challenging or controversial. The future of 'Empuraan' as a cultural artifact will likely be shaped by the ongoing debate about its merits and demerits, its impact on social discourse, and its legacy as a case study in the complex relationship between art, politics, and society. While the edited version attempts to reconcile the conflicting views, the original version and the discussions surrounding it remain significant in understanding the socio-political dynamics of the region and the role of cinema within them.
Source: Explained: Mohanlal's Empuraan controversy over riot depiction