KKN Gurugram Desk | In the wake of the recent terror attack in Pahalgam, Jammu & Kashmir, the much-anticipated Bollywood comeback film of Pakistani actor Fawad Khan, titled Abeer Gulal, has been suspended indefinitely. The film was originally slated for release on May 9, 2025, but following national outrage and security concerns, its theatrical rollout was halted.

The decision received mixed reactions on social media. While some praised the authorities for being sensitive to public sentiment in the aftermath of the attack, others—especially from the film fraternity—expressed concerns about the increasing normalization of bans on creative content.

Prakash Raj Condemns Film Ban: “You Can’t Ban Every Movie You Disagree With”

Acclaimed actor and outspoken public figure Prakash Raj has voiced strong opposition to the ban. In an exclusive interview with The Lallantop, he said,

“I am not in favor of banning any film—be it a right-wing film or a propaganda film. Let people decide. People have the right to choose. Unless it’s about pornography or child abuse, why ban a film?”

According to Raj, the growing trend of film censorship and targeted bans threatens not only creative freedom but also the very foundation of democratic discourse in a diverse society like India.

Deepika Padukone and Shah Rukh Khan Controversies Resurface

Highlighting the pattern of outrage politics, Prakash Raj brought up past incidents involving Bollywood stars Deepika Padukone and Shah Rukh Khan.

“Anyone can claim to be offended today. Remember when someone threatened to cut off Deepika’s nose before Padmaavat? Or when people lost their minds over Shah Rukh just because of the color of an outfit in Pathaan‘s ‘Besharam Rang’ song? We are heading into a space where artistic nuance is being replaced by mass hysteria,” he said.

These controversies, often fueled by fringe groups or political agendas, have repeatedly disrupted film releases in recent years.

Censorship Becoming Centralized, Claims Prakash Raj

Prakash Raj also took a sharp dig at the current central government, accusing it of enabling and even encouraging a climate of fear around artistic expression.

“The government is letting this happen. They are giving people enough support to stir fear in society. Earlier, there was state censorship. Now, it’s clear we’ve moved to centralized censorship. They want to control what’s made, what’s shown, what’s said. The goal is to create so much fear that future generations won’t even attempt to write what they truly believe in,” he alleged.

The actor implied that the rise of ideologically driven censorship mechanisms could have long-term consequences on India’s cultural and intellectual landscape.

A Broader Trend: Censorship and Political Interference in Cinema

The ban on Abeer Gulal is not an isolated incident. Over the past decade, India has seen a marked increase in film bans, protests, and content-related controversies, often orchestrated by political groups or social organizations with ideological interests.

Recent examples include:

• Padmaavat (2018): Faced violent opposition from Karni Sena, including threats to Deepika Padukone’s life.

• Pathaan (2023): Objected for a song costume, despite censor board clearance.

• Adipurush (2023): Criticized for alleged distortion of religious texts.

Each case follows a pattern: public pressure, political rhetoric, media noise, and eventually, forced changes or temporary bans, regardless of legal validity or creative intent.

Legal Framework vs. Street Justice: Who Decides What India Watches?

India has a centralized film certification authority—the Central Board of Film Certification (CBFC)—which is empowered to evaluate, rate, or demand edits in films based on a legal framework. However, the ground reality often deviates.

Films certified by the CBFC have still been:

• Delayed or denied releases due to mob threats

• Modified under political or religious pressure

• Boycotted online using social media campaigns

Prakash Raj’s comments reflect the sentiment that street sentiment is increasingly overriding statutory guidelines, turning public outrage into a tool of censorship.

Is Artistic Freedom Under Threat in India?

India’s freedom of speech and expression, enshrined under Article 19(1)(a) of the Constitution, is subject to “reasonable restrictions.” But critics argue that the term “reasonable” is now being interpreted too loosely, especially when it comes to films and cultural productions.

Filmmakers and actors today operate in an environment where:

• Scripts undergo multiple pre-approvals

• Risk assessments include political and religious “sensitivity”

• Legal protections are ineffective against public mob outrage

Prakash Raj’s remarks reflect a broader industry concern: Can Indian cinema truly remain bold, critical, or thought-provoking if everything is filtered through fear?

Abeer Gulal: A Victim of Geopolitical Sentiment?

The timing of Abeer Gulal‘s suspension—soon after a terror attack in Kashmir—raises questions about how cross-border tensions are affecting Indian media and entertainment.

While the outrage over casting a Pakistani actor like Fawad Khan may stem from nationalistic sentiment, should artistic collaboration be held hostage to diplomatic or security events? Prakash Raj says no.

“Art and cinema should rise above borders. We can oppose Pakistan‘s politics without hating artists. We cannot equate every Pakistani individual with terrorism,” he stated in past interviews.

This distinction, however, is increasingly blurred in today’s volatile political climate.

Should Audiences Be Trusted More?

At the heart of the censorship debate is a fundamental question: Are Indian audiences mature enough to decide for themselves what to watch and what to reject?

Prakash Raj believes the answer is yes.

“Let people watch. If they don’t like a film, it will fail. If it’s propaganda, people will reject it. Don’t infantilize the public. Don’t decide for them,” he asserted.

Many in the creative community echo this belief, demanding greater faith in democratic discourse rather than top-down restrictions.

Where Does the Film Industry Go From Here?

If the current environment of intolerance toward artistic diversity persists, India risks:

• Losing international collaborations

• Curbing young, independent voices

• Turning cinema into a sanitized medium, devoid of challenge or critique

Filmmakers, writers, producers, and actors will have to navigate increasing legal, social, and political minefields, diluting the cultural richness Indian cinema is known for.

The controversy around Abeer Gulal and the response from artists like Prakash Raj bring attention to the delicate balance between national sentiment and artistic liberty. As India grapples with issues of nationalism, censorship, and identity, the need for rational public discourse and institutional integrity has never been greater.

Can a country as diverse as India afford to silence its artists? Or should the State focus on empowering viewers to judge content on its merit?

Only time will tell whether India chooses freedom over fear, dialogue over bans, and expression over suppression.