Malayalam Film Industry Simmers: New Controversy Erupts Amidst CBFC Standoff
The Malayalam film landscape is currently a hotbed of contention, ignited by the Central Board of Film Certification’s (CBFC) controversial stance on the upcoming movie, *Janaki vs State of Kerala*. This dispute, centered around an alleged demand to alter the film’s title, has already spurred widespread public protests and drew the ire of various prominent film organizations across Kerala. Yet, as this primary battle unfolds, a fresh, deeply personal “sub-controversy” has emerged, thrusting legendary filmmaker Sibi Malayil into an unexpected spotlight and leaving another director, MB Padmakumar, reeling from what he perceives as a profound injustice.
Veteran’s Remarks Spark Fury: MB Padmakumar Blasts Sibi Malayil
The latest flashpoint arrived when esteemed director Sibi Malayil, while commenting on the broader *Janaki vs State of Kerala* censorship issue, referenced an earlier dilemma faced by MB Padmakumar’s film, *Token Number*. Malayil recounted how *Token Number* had also encountered certification hurdles from the CBFC, specifically concerning character names. He stated that because Padmakumar’s was a “small film,” the director personally resolved the issue by making the requested changes. These seemingly innocuous remarks, however, ignited a firestorm from Padmakumar, who unequivocally claims Malayil’s comments have directly sabotaged his film’s crucial release prospects.
The Unseen Battle of ‘Token Number’: CBFC’s Demands on Character Names
Delving into the specifics of *Token Number*’s fraught journey, MB Padmakumar revealed that despite receiving initial clearance from the CBFC’s regional office, the ultimate certification was withheld by the board’s Mumbai headquarters. Their demand? A change to the names of one of the protagonists, either Janaki or Abraham. According to *The Hindu*, Padmakumar clarified that while there was no formal written communication detailing these issues, the mandate was clear: no name change, no certification. Sibi Malayil’s recollection, therefore, resonated with a kernel of truth regarding the name change, but it was his characterization of *Token Number* as merely a “small film” or an “award film” that truly infuriated Padmakumar.
A Director’s Heartbreak: “You Threw Sand in My Rice Bowl”
Padmakumar’s outrage wasn’t merely professional; it was deeply personal, bordering on existential. He questioned Sibi Malayil’s dismissive categorization of his project: “Who told Sibi Malayil sir that my film is an ‘award film’ or a ‘small film’? If there are no superstars or if it’s not a big-budget film, it automatically becomes a small film or what, sir? And the audience shouldn’t see it, is that it, sir?” The parallels to the very censorship he fought were stark for Padmakumar, who felt Malayil’s judgment echoed the CBFC’s prejudice – a decision made without even viewing the film.
The Crushing Blow: Distribution Dreams Shattered
The real tragedy, Padmakumar articulated, lay in the devastating impact on his film’s theatrical release. He recounted the immense personal sacrifice involved in creating *Token Number*: “This is a film I made by toiling for the last seven months, sacrificing my food and sleep.” After navigating the treacherous waters of certification, even succumbing to the CBFC’s demands out of “defeat and fear,” the next hurdle was securing distribution in an industry often reliant on superstar power. Securing a distributor for a film without A-list actors is an uphill battle, a reality Padmakumar intimately understands. He painstakingly arranged for a distributor, even offering personal financial guarantees. But Sibi Malayil’s public comments, labeling *Token Number* a “small” or “award” film, proved to be a crushing blow. “He called me and said, ‘You told me this was a big film that the audience would love. But now Sibi Malayil himself has said it’s a small film. I am not investing money in an ‘award film’.” The despair in Padmakumar’s voice, captured in a YouTube video tellingly titled “Just kill me, Mr Sibi Malayil,” underscored the gravity of the moment: “Sir, you have thrown sand in my rice bowl.” This stark statement encapsulates the profound impact one veteran’s words can have on the precarious livelihood of an independent filmmaker.
