Like Vijay’s Jana Nayagan, Rang De Basanti missed release date amid censorship struggles; Rakeysh Omprakash Mehra mortgaged house
Rakeysh Omprakash Mehra recounted that he had to mortgage his house to keep the pre-production of Rang De Basanti running and how the Aamir Khan starrer faced censorship struggles, like Vijay's Jana Nayagan today.
Touted as ‘Thalapathy’ Vijay’s last film before he takes to politics as a full-time career, Jana Nayagan missed its Pongal release date, January 9, after failing to receive necessary certification from the Central Board of Film Certification (CBFC). After getting a prelim okay from the certification body, the film’s makers were told that it had been referred to the revising committee based on a complaint, following which they went to Madras High Court. The court has now reserved its order but has not specified when it will be announced. As a January release seems out of question for Jana Nayagan,the makers have already said they have over Rs 500 crore at stake.
There is a long list of films that have faced trouble when it comes to their release but one seminal January release, Rakeysh Omprakash Mehra’s Rang De Basanti, can scarcely be conceived in today’s socio-political climate. Mehra, in an exclusive conversation with SCREEN, revealed that even 20 years ago, bringing the film to life was a struggle. First, securing a green light and later a release date proved difficult, as bureaucrats in the Defence Ministry raised several objections. One pivotal plot point: the assassination of the Defence Minister, intertwined with a storyline exploring large-scale corruption in the government’s acquisition of MiG fighter planes.
Reflecting on the Ministry’s reservations, Mehra recalled: “The bureaucrats at the Defence Ministry told us, ‘Don’t call a MiG a MiG, don’t call a Defence Minister a Defence Minister, you won’t get a Censor Certificate. You have to remove the scene on television where the defence minister says: “the soldiers aren’t in their senses, but high on spirit, while flying the planes.” They said you can’t do all of this. But I said, all of this is derived from real life. I have facts to support everything.”
Just like Jana Nayagan,Rang De Basanti missed its original release date and was warned that if it didn’t make all the changes, the film will get delayed. Mehra recalled that he was warned if he insisted on keeping the scenes intact, the release date could be pushed back by six weeks. “They said your film is releasing on 19th January. It will take six weeks for the film to go through the process, to clear it, and you will suffer. So I said, ‘Take six years, don’t take six weeks. We will release it after six years, it’s okay.’ But these are facts. So when we stuck to our guns, it went up to the Defence Minister and sailed through after that. Originally, it was supposed to release on 19th January, but it released on the 26th. So what happens, happens for the good, we got a Republic Day release.”
Rakeysh Omprakash Mehra recounted the censorship struggles the film faced two decades ago.
In the same conversation, Mehra recounted the significant financial challenges the film faced even before censorship issues arose: “We were fighting for finances forever. It was just two months before shooting, and my earlier producers, one from America and one from the UK, had to be legally removed from the film because they never performed. They never showed up. They never gave the money. I kept investing my own money. That was, of course, not enough; I’m not a rich guy. Finally, we had to mortgage our office first, and then our house in Pali Hill to keep pre-production running.”
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He also spoke about the constant interference from the original producers: “They kept saying, ‘Take that actor, why are you doing this? Go for a known face for this one.’ I understand collaboration, but I hate interference of any kind because that spoils the film. Not for any egotistical reason or anything. I believe there needs to be singularity in the vision.”
Anas Arif is a prolific Entertainment Journalist and Cinematic Analyst at The Indian Express, where he specializes in the intersection of Indian pop culture, auteur-driven cinema, and industrial ethics. His writing is defined by a deep-seated commitment to documenting the evolving landscape of Indian entertainment through the lens of critical theory and narrative authorship.
Experience & Career
As a core member of The Indian Express entertainment vertical, Anas has cultivated a unique beat that prioritizes the "craft behind the celebrity." He has interviewed a vast spectrum of industry veterans, from blockbuster directors like Vijay Krishna Acharya, Sujoy Ghosh, Maneesh Sharma to experimental filmmakers and screenwriters like Anurag Kashyap, Vikramaditya Motwane, Varun Grover, Rajat Kapoor amongst several others. His career is characterized by a "Journalism of Courage" approach, where he frequently tackles the ethical implications of mainstream cinema and the socio-political subtext within popular media. He is also the host of the YouTube series Cult Comebacks, where he talks to filmmakers about movies that may not have succeeded initially but have, over time, gained a cult following. The show aims to explore films as works of art, rather than merely commercial ventures designed to earn box office revenue.
Expertise & Focus Areas
Anas's expertise lies in his ability to deconstruct cinematic works beyond surface-level reviews. His focus areas include:
Auteur Studies: Detailed retrospectives and analyses of filmmakers such as Imtiaz Ali, Anurag Kashyap, and Neeraj Ghaywan, often exploring their central philosophies and creative evolutions.
Cinematic Deconstruction: Examining technical and narrative choices, such as the use of aspect ratios in independent films (Sabar Bonda) or the structural rhythm of iconic soundtracks (Dilwale Dulhania Le Jayenge).
Industrial & Social Ethics: Fearless critique of commercial blockbusters, particularly regarding the promotion of bigoted visions or the marginalization of communities in mainstream scripts.
Exclusive Long-form Interviews: Conducting high-level dialogues with actors and creators to uncover archival anecdotes and future-looking industry insights.
Authoritativeness & Trust
Anas Arif has established himself as a trusted voice by consistently moving away from standard PR-driven journalism. Whether he is interrogating the "mythology of Shah Rukh Khan" in modern sequels or providing a space for independent filmmakers to discuss the "arithmetic of karma," his work is rooted in objectivity and extensive research. Readers look to Anas for an educated viewpoint that treats entertainment not just as a commodity, but as a critical reflection of the country's collective conscience. ... Read More
Rakeysh Omprakash Mehra recounted the censorship struggles the film faced two decades ago.
