A growing controversy has emerged as ongoing ambiguity shrouds the response to a Right to Information (RTI) query filed by Delhi-based playwright Imran Zahid regarding the prohibition on the release of Pakistani films in India. This significant inquiry by Zahid comes in the context of recent legal and bureaucratic hurdles obstructing the release of the highly anticipated Pakistani film, “The Legend of Maula Jatt,” featuring renowned actor Fawad Khan, who is widely admired by Indian audiences.
The efforts of filmmakers to bring Khan’s work to Indian cinema screens have encountered numerous challenges due to unspecified restrictions that have prompted Zahid to delve deeper into the regulations. Zahid, currently working on an Indian adaptation of the popular Pakistani series “Humsafar,” filed the RTI to seek clarity on the release dynamics of Pakistani films and collaborative efforts with artists from Pakistan.
Upon filing his request, Zahid anticipated a definitive response, but the outcome was an unexpected bureaucratic maze. Initially, his query was directed to the Ministry of External Affairs (MEA), which, in adherence to its administrative protocol, transferred the responsibility to the Ministry of Information and Broadcasting (MIB). However, a month later, the response from MIB declared the department’s incompetence to handle the issue, citing that the question of restrictions on foreign nationals and artists did not fall within their jurisdiction.
This perplexing situation has left Zahid questioning the functionality and purpose of the RTI system. The RTI Act, intended as a tool for citizens to obtain information, appears to be faltering in this instance, as Zahid muses that it signifies a ‘Refusal To Information’. The paradox becomes more stark as both the Bombay High Court and the Supreme Court of India, just this year, clarified that no judicial ban exists against Pakistani artists working in India.
Zahid articulates his disenchantment with the two ministries’ lack of accountability, demanding answers to critical queries about the filmmaking rules and regulations in the context of artists from India’s neighboring country.
. He stresses the importance of transparency so that filmmakers can understand the potential risks before investing in projects that may face unexpected bans. “If there is a defined rule against it, this should be made known to us,” Zahid implores. He also voices his curiosity over why such critical questions are yet to be adequately addressed or even raised on a broader platform within the industry.
In an interesting twist, as reports floated about the possible release of “The Legend of Maula Jatt” in India, a political party in Maharashtra vocally threatened theater proprietors with repercussions should they screen the film. Zahid notes that no such implicit restrictions exist in Pakistan, pointing out that Gen (Dr) VK Singh (Retd), the former Minister of State in the MEA, clarified in Parliament back in 2015 and 2016 that the Pakistani government has imposed no ban on Indian artists visiting or performing in their country.
Exploring the roots of this situation, the origin of the ban can be traced back to the aftermath of the 2016 Uri terror attacks. An unofficial yet gripping embargo was enacted by Indian cinematic associations like the Indian Motion Picture Producers Association (IMPPA) and the Federation of Western India Cine Employees, citing reasons of national security and patriotism.
Despite these actions, both the Bombay High Court and the Supreme Court have made clear rulings in 2023, dismissing petitions that sought a formal ban on Pakistani artists in India. The legal decisions were aimed at defusing the demands by various non-statutory entities, such as the All India Cine Workers Association (AICWA), which pursued the enforcement of these restrictions.
As this conundrum unfolds, the question remains whether the bureaucratic inertia will give way to clarity and resolve, paving the path for a more transparent and open environment in the film industry. Zahid’s endeavor, driven by a quest for transparency, spotlights the broader issues of inconsistent government communication and the need for a coherent policy that can address concerns on both sides of the border.
