Opinion L2: Empuraan | Manufactured outrage over a non-ideological film — and a tragic capitulation

However, for the online sentinels of community and culture, this was a rare high-profile treat to relish: A popular actor/director like Prithviraj Sukumaran and the superstar of Malayalam cinema, Mohanlal, together in one dish. Add to this one of the industry’s most prominent scriptwriters with left leanings (Gopy) and the cherry on top, the big-time producer and owner of a slew of companies, Gopalan. The online protectors were not letting go easily.

References to Gujarat, showing and even naming the main antagonist as a murderer who despises Muslims and then successfully charts his way to the corridors of power; other fictional exploits in the movie where a political party is eyeing Kerala to mine its wealth, and the allusions to key central agencies — all of these, according to them, were too close for comfort and unnecessary.

Now, in a sudden move, the team behind L2: Empuraan has capitulated to this online pressure and voluntarily agreed to about 17 modifications to provide a refurbished and re-censored version. For those who have actually seen L2:Empuraan, it is abundantly clear that the film is not on a propaganda-driven mission as alleged. There are salutations to empathy and humanity, especially before the violence that breaks out in the first half of the film. For example, the Hindu matriarch who provides shelter to a Muslim man and his family. L2:Empuraan moves on from this strand to grander and more ostentatious set-pieces to enthral audiences with choreographed action, introducing the larger-than-life character(s) of Mohanlal and delving into some Kerala politics, too. Its so-called vilification of Hinduism and “reinforcing the image of Hindus as primary aggressors” are not at all L2:Empuraan’s key threads. Its intent and scale are ambitious, the makers just wanted to put Kerala on the global cinematic stage with superstar Mohanlal as its torchbearer.

Unfortunately, the platforms of cinema, art and culture have come to this. Artistes and performers are left to dance to the cliched tunes of an unseen online mob. Yet, we don’t hold back on selling the soft power of our films and entertainment in international forums that are daring to be viksit. The Hindi film industry can dish out inane, cringe-worthy storylines that are overwhelmingly communal and pander to extreme, fundamental sensibilities. They even based one such atrocious offering in Kerala — remember that Story? Let us cheer, clap and whistle as this absurdity continues day in and day out. And as this joke on us gets bigger, better and meaner, let’s just remember to scale up the din of our appreciation too — with future endeavours that will suffer the same fate.

Mathew is based in New Delhi and writes on films, art and contemporary issues