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Finally, on the last day, according to reports, the CBFC revoked its earlier clearance to the film based on complaints by some jury members about the style in which the title has been written on the title card which, the Board said in a letter to the producer, “is effectively undermining and attempting to defeat the very basis of the title registration and changes”.
Since the news came just days before IFFI, Sasidharan was left with little time but he approached the Kerala High Court for relief all the same.” (goddess) as long as she stays at home and remains pliable, conformist and opinionless.Durga — frozen as a statue — is worshipped in temples and her anger, her courage revered.Far from being moved, as festival audiences have been, by ’s hard-hitting and multi-layered messaging, the government and conservatives among the public (most of whom have not seen the film) have chosen instead to be irked by the title that they believe demeans Goddess Durga.The government is also clearly irked by the content although they have not yet said why.The road has been long for for its release in Indian theatres.
Though no reason was reportedly offered by CBFC, an indication comes from the Union Information & Broadcasting Ministry’s refusal in the previous month to grant the film an exemption — as is the norm — for Mumbai’s MAMI Festival with this declaration (quoted on Sasidharan’s Facebook page): “…Ministry is of the view that, it may affect the law and order as it hurts the religious sentiments, ‘Durga’ being a principal Hindu Goddess.
The answer should be obvious to those not seeking to make a petty point to India’s minority communities, but the obvious needs to be stated in the trying times we live in, so here it is: Sure it could have been called , except that the line of reasoning would have been vastly diluted by the use of those names for the film in the Indian context.
Mary is not just the mother of Jesus Christ, it is the commonest name among Indian Christian women.
In an introductory scene, as a man in heads off to the festival procession, he briefly harasses a female bystander to amuse himself.
That fleeting shot immediately points us in the direction of what the title seeks to convey: that the woman in the tableau is adored by men who may well trivialise and abuse the women in their lives; that those who idolise Durga — or other goddesses and mother figures in major world religions, for that matter — are not necessarily, in fact are rarely, feminists.
Its release date in domestic theatres is yet to be fixed, but for months now, the team’s energies have been devoted to battling Indian authorities.