As we know in the Indian culture as general, caste and religion have been closely

connected from the beginning of time. These two components combine to build an
air tight barrier between cultures, generating schools and classes among various
social groups.

Primarily, the censor board would like to address section 5B of the cinematograph
act; Principles for guidance in certifying films.—
(1) A film shall not be certified for public exhibition if, in the opinion of the
authority competent to grant the certificate, the film or any part of it is against the
interests of the sovereignty and integrity of India], public order, decency or
morality, or involves defamation or contempt of court or is likely to incite the
commission of any offence.
(2) Subject to the provisions contained in sub-section (1), the Central Government
may issue such directions as it may think fit setting out the principles which shall
guide the authority competent to grant certificates under this Act in sanctioning
films for public exhibition.

Cinematograph (Certification) Rules 1983, under Section 11, it specifically

imposes a duty on the Board to assess public reactions to films. This may be by
holding symposia or seminars of film critics, film writers, community leaders and
persons engaged in the film industry and also by undertaking local or national
surveys to study the impact of films on the public mind.

Article 19(2) of the Constitution guarantees freedom of speech and expression to

all citizens of India. This article is subjected to certain restrictions, namely,
sovereignty and integrity of India, the security of the State, friendly relations with
foreign States, public order, decency or morality or in relation to contempt of
court, defamation or incitement to an offence.
The legitimacy of censorship under the 1952 Act and its Rules was questioned in
K.A. Abbas v. Union of India[22]. The Supreme Court, on the other hand,
supported the constitutionality of motion pictures under Article 19(2), adding that
they must be regarded independently from other forms of art and expression since
they are "able to stir up emotions more deeply than any other work of art." It
did, however, warn that it must be done "in the interests of society."

The intense amount of scenes showing muslims praying even in scenes where the
act holds no significance can construe Muslims as overly religious, unable to abide
by secular principles, whereas the religiosity of Hindus is not as stringent. This is a
prevalent stereotype about the Muslim community, verified in a 1983 report by the
Minorities Commission in India. The report outlines prejudices held by the police
against Muslims, one of them being that “Muslims are excitable and irrational
people who are guided by their religious instincts. Hindus, on the other hand, are
law abiding and cooperate with the police in controlling communal violence.

Fathers

the Muslim male’s patriarchy is consolidated by aggression. For instance, when

Bashir discovers that Shekar is writing to his daughter from Bombay, he drags his
wife into the courtyard by the ear. He then confronts Shaila Bano, pleading with
her to promise him that she will not make such a mistake again, i.e., to fall in love
with a Hindu man. However, she defies his authority by not accepting his
outstretched hand, to which he reacts by slapping her across the face. Hence, this
scene suggests that he controls both women through physical force.

On the other hand, Narayan’s interaction with his daughter and wife is not
physically abusive even though the patriarchy is strongly depicted in both.
Shekhar’s sister is even seen standing upto the father for Shaila Bano. The father
however ends up using words and emotions to appeal to Shekar. This is a clear
example of showing the magnitude of control and ethics as portrayed in
comparison between two fathers of different faiths.

Another instance is a scene where Narayan marches to Bashir’s home after he

learns that Shekar intends to marry Shaila Bano. As an argument ensues, the
Muslim father, Bashir is seen resorting to violence while Narayan keeps to verbal
anger. And this especially during a time of communal violence sends a biased and
wrong message.

The film begins the first phase of riots with images of newspaper headlines
reporting the destruction of the Babri Masjid, signalling a situation where the
apparent communal riots are to begin, and praying muslims emerge and head to the
streets with weapons indirectly or directly indicating the violative tendencies of the
Muslims. Throughout the film, more of the images of an angry mob is prevalent
within the islam community as depicted in the same.