Rang De Basanti's Turbulent Journey: From Financial Hardship to Censorship Battles
In a striking parallel to the current struggles faced by Thalapathy Vijay's Jana Nayagan, filmmaker Rakeysh Omprakash Mehra has revealed the immense challenges behind bringing his iconic film Rang De Basanti to screens. The Aamir Khan-starrer, now considered a cinematic landmark, faced significant financial and bureaucratic hurdles that nearly derailed its production and release.
Financial Sacrifices: Mortgaging Home to Save the Film
Mehra disclosed in an exclusive conversation that the film's pre-production phase was marked by severe financial constraints. "We were fighting for finances forever," he recalled. "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."
The situation became so dire that Mehra had to take extreme measures: "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." This personal sacrifice underscores the filmmaker's commitment to his vision despite overwhelming odds.
Censorship Struggles: Defence Ministry Objections
Beyond financial challenges, Rang De Basanti encountered significant resistance from government authorities during the certification process. The film's plot, which included the assassination of a Defence Minister and explored corruption in MiG fighter plane acquisitions, raised red flags with bureaucrats at the Defence Ministry.
Mehra recounted their specific demands: "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."
The filmmaker stood firm, arguing that his narrative was grounded in reality: "But I said, all of this is derived from real life. I have facts to support everything." This confrontation led to warnings that the film's release could be delayed by six weeks if changes weren't made.
Release Date Delays and Creative Integrity
Similar to Jana Nayagan's current predicament of missing its Pongal release date after CBFC complications, Rang De Basanti also faced scheduling disruptions. Originally slated for January 19 release, the film was pushed to January 26 due to the censorship process.
Mehra reflected on this delay with philosophical acceptance: "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."
The filmmaker added: "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."
Parallels with Contemporary Cinema
The struggles faced by Rang De Basanti two decades ago find eerie echoes in today's film industry. Jana Nayagan, touted as Vijay's final film before his full-time political career, missed its January 9 Pongal release date after failing to receive necessary certification from the CBFC. Following a preliminary approval, the film was referred to a revising committee based on a complaint, leading the makers to approach the Madras High Court.
With the court reserving its order without specifying an announcement date, a January release appears unlikely for Jana Nayagan. The makers have reportedly stated they have over Rs 500 crore at stake, highlighting the significant financial implications of such delays.
Creative Vision Versus Interference
Mehra also addressed the challenge of maintaining creative control amidst external pressures. He spoke about interference from original producers who questioned casting decisions and creative choices: "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."
This commitment to artistic integrity, combined with financial sacrifice and bureaucratic negotiation, ultimately allowed Rang De Basanti to become the influential film it is today. Mehra's revelations offer a sobering look at the behind-the-scenes battles that often define landmark cinema, battles that continue to resonate in India's contemporary film landscape.
