Thursday, 28 April 2016

Movie Review; TALVAR – An Indictment of the Indian Legal System?

TALVAR  :- AN INDICTMENT OF THE INDIAN LEGAL SYSTEM?



The Hindi movie ‘Talvar’ ,released on 02.09.2015, has brought alive the ghosts of the infamous ‘Arushi Talwar- Hemraj’ twin murder case of 2008 into public discussion again. On 16.05.2008, when 14 year old Arushi Talwar was found dead in her bedroom in her Noida apartment, and when the dead body of the domestic help Hemraj was discovered at the terrace of the apartment next day, a new urban legend was born. The local Police, in their zest to finish off the investigation and to cover up their follies,  concocted a theory of ‘honour killing’, suggesting that the father had killed both of them in rage upon finding them in an ‘objectionable, if not a compromising position’ , and the media lapped it up with salacious zeal  shooting off perverse surmises regarding the immoral lives of the affluent and the promiscuity of the teenager, with utter disregard to the dignity and privacy of the deceased and the mourning parents. After much hue and cry, the case was handed over to the Central Bureau of Investigation, which discarded the ‘honour killing’ theory, and zeroed in on three friends of Hemraj as the possible suspects. However, the investigation team was changed in 2009, and the new investigation team re-adopted the theory of ‘honour killing’, implicating the Dr.Rajesh Talwar and Dr. Nupur Talwar, the parents, in the twin murders. In view of the utter lack of unanimity in the reports of two investigating teams, the CBI filed closure report under Section 169 of the Cr.P.C stating that there was no sufficient evidence to proceed against the accused.

However, the Talwars, in the eagerness to bring to book the real culprits, filed a protest complaint objecting the termination of investigation and praying for its continuation to catch the real culprits. In a bizarre turn of events, the Special Judicial Magistrate(CBI), Ghaziabad, by order dated 09.02.2011, rejected both the closure report and also the protest complaint, and took cognizance of the offence, and issued summons to the Talwars to stand trial as the accused. The trial of the offence, the cognizance whereof was taken on the basis of a closure report citing insufficiency of evidence, culminated in judgment dated 26.11.2013 of the Special Judge, CBI, Ghaziabad, whereby both the accused were convicted for murder under Section 302 IPC and were sentenced to life imprisonment. While the accused are at present languishing in the prison, waiting for their appeals to be taken up the Allahabad High Court, the said movie ‘Talvar’ has been released, stating the unstated and asking the unasked things in the trial and investigation. Before examining the missing links highlighted by the movie, it is pertinent to consider the points on which judgment was rendered by the learned CBI Judge.

Findings of the CBI Judge

‘There were four persons in the house at night; two were found dead in the morning; so the remaining two must be culprits, if there is no evidence of entry by anyone else at night’- The whole reasoning of the judgment is built up on this simple hypotheses. At pages 191-193 of the judgment (judgment dated 26.11.2013 in Sessions Trial No. 477 of 2012, Court of Special Judge, CBI, Ghaziabad), the grounds for arriving at conviction are enumerated. It notes that the accused and the deceased were last seen together on the previous night. There was no evidence of any forceful entry or intrusion by outsiders during the night. The parents slept adjacent to the room of deceased Arushi. Arushi’s room had an automatic click shut door, which can be opened from outside only with a key.    So entry to the room of Arushi is possible only with the key, or only if Arushi lets the door open from inside.  The servant Hemraj had a room adjacent to the entrance of the house, which had a door opening into the apartment. At an earlier part of judgment, it is observed that the both the deceased were found in the midst of a sexual act by the father, and that acted as a sudden provocation for commission of the murders. The testimony of the doctor performed the post mortem is relied upon to conclude that the deceased girl was engaged in sexual intercourse.(Page 98). Thus, the Court establishes the motive for the murders, which is a relevant fact in a case built upon circumstantial evidence. Moreover, the internet router was also found to be active during the night, suggesting that the parents were awake. Also, a bottle of Bellentine Whiskey, which otherwise should have been present in the Doctor’s cabinet, was left in the dining table with blood stains one it. An outsider would not have dared to take the bottle from the cabinet and consume from it after the commission of the murderous acts. The body of Hemraj was placed in the terrace, and the door to the terrace was locked. The keys of the terrace was in Hemraj’s room, and an outsider would not have been able to locate it.

The testimony of Smt. Bharti Mandal, the maid-servant who had come to the apartment in the morning, is given considerable weight. According to her, when she came in the morning, she could not open the outer mesh door, and she rang the calling bell many times. Then Nupur Talwar woke up and came and stated that Hemraj must have locked the door from outside before going out for fetching milk, and Bharti Mandal was asked to go down so that Nupur could throw the duplicate keys from the balcony to her. When Bharthi Mandal came up after fetching the duplicate keys, she could easily open the mesh door with a simple push. From this the court took the inference  that the door was only latched from inside, and so as to misguide Bharthi Mandal, she was told by Nupur that Hemraj had locked it from outside and that when Bharathi was down, Nupur had unlocked the door from inside. So the conclusion was reached that the door was locked from inside, and thereby the hypotheses of outsiders intruding was completely negated.

When the maidservant came inside, she found Nupur Talwar screaming near Arushi’s room saying “See what Hemraj has done”. Rajesh Talwar was also found standing nearby, visibly shocked. The Court observes that the clothes of the parents had no blood smears. According to the Court, the natural reaction of any parents upon finding their daughter dead would have been to hug and cling to her body, resulting in their clothes getting smeared by blood. The absence of such response from the parents also was taken into account by the Court to conclude that they were guilty.

The Court places heavy reliance on Section 106 of the Indian Evidence Act to state that the events transpired in the apartment during the intervening night of 15.05.2008 to 16.05.2008 are within the domain of especial knowledge of the accused, and unless they are able to come up with a reasonable explanation for that, the chain of events establishing their guilt circumstantially will have to be regarded as proved.

The missing links
nfqjHDdegbb.jpg
The movie “Talvar”, directed by Meghna Gulzar and scripted by the Vishal Bharadwaj, follows the docu-fiction pattern, documenting the events pertaining to the case with certain fictionalizations to render it suitable to cinematic medium. In the movie, the Talwars change as Tandons, and the CBI as the CDI(Central Department of Investigation); however it is not difficult to identify the real dramatis personae behind the veneer of such superficial change of names. As state earlier, there were three teams which carried out the investigation, one by the State Police, and two by the CBI, and the film presents the versions of the three teams before the audience, and leaves it to the audience to draw their own conclusions.   Some critics have compared the movie’s narrative style to that of Japanese classic “Rashomon” directed by the Akira Kurasowa, wherein multiple versions of a single incident are weaved together to present a multifaceted account of truth to the audience. Although the film stays objective and dispassionate with its different narratives of the incident, it is not difficult to figure out that the film has its sympathies with the parents.

The endeavour here is not to test the validity of the judgment in the light of the revelations in the movie, as it would be a puerile and egregious exercise. The attempt herein is to juxtapose the information revealed in the movie with the factual circumstances unfurled in the judgment so as to examine whether there are any missing links and whether the dots are joined to present a full picture, and thereby examine whether the call for a wider probe and further investigation into the matter is warranted or not. In other words, merely to examine whether the issue has attained a proper sense of closure.

The viewers are introduced to the crime scene with the arrival of maidservant, and her inability to open the outer mesh door. Then, Nootan Tandon( the onscreen character of Nupur Talwar, played by Konkona Sen Sharma), asks her to go down to fetch the duplicate keys. At this juncture, it is pertinent to refer to the discussion of the evidence of Bharti Mandal, the real life maidservant, at pages 86 to 91 of the judgment. It appears that the maidservant deposed before the Court that the door was not locked from outside, contrary to her initial statement before the police. She also admitted in her cross examination that she had deposed as instructed by the Police, clearly suggesting that she had been tutored.  However, the Court brushed aside such inconsistencies and discrepancies on the ground that she was an “illiterate and bucolic lady from the lower strata” and that her testimony ought not to be discarded on the basis of inconsistencies.(Page 91).

The chain of events as documented by the movie is as follows. The local police who arrived at the crime scene is depicted as carrying out the process with callous carelessness and indifference. They failed to cordon off the crime scene, resulting in the finger prints and the forensic evidence getting mutilated due to incessant flow of visitors.( Later in the movie, a character playing CDI inspector rebukes the local SI stating that “crime scene ko tumne machii bazaar bana dia hai). According to the police it was an open and shut case of murder committed by the missing servant Hemraj, and announces a reward for tracing him out. The police commit gross negligence in their failure to examine the terrace of the building, where the body of Hemraj had been lying since last midnight. Although some of the visitors bring to the attention of the police the presence of blood stains in the lock of terrace door and stair railings, the police officers dismiss them as rust. It was only on the next day by 10 AM that the body of Hemraj was discovered in the terrace in an advanced state of putrefaction.

The discovery of the body of Hemraj a day later struck a major blow to the police, as it pointed out severe ineptitude on their part, and the initial theory of servant killing the girl came crumbling down. Coming under severe media criticism and public pressure, the Police felt constrained to find a solution to the case at the earliest. Thus, the theory of ‘honour killing’ was devised. That the Talwars slept throughout the night without knowing the double murders which happened in the adjacent rooms was brought up as a suspicious circumstance against them. The parents explained that they used to sleep with the doors and windows closed and the Air Conditioner in their room was very noisy, making it impossible to hear voices from outside. Also, the fact that they specified the exact time of death of Arushi to the pundit at Haridwar before disposing off her ashes in Ganga was also used to frame them. However, they explained that the approximate time of death was mentioned to the pundit as they were told that the time of death was necessary to be known for the proper performance of the rites. Anyway, the explanations offered by the parents were not heeded to and they were framed, and a press conference was hurriedly called for announcing the result. That triggered off a media onslaught, and the character and dignity of the parents and the deceased daughter were ripped apart by sensationalist media.

At that juncture, the CBI( CDI in the movie), takes over the investigation. The new team conducted a sonic inspection of the room of the Doctors with the AC switched on, and found that it was impossible to hear voices from outside. The local police had omitted to properly examine the room of Hemraj, where a bottle of beer and two glasses were left. Hemraj was a teetotaller, and there were clear indications from the room that at least three persons had assembled in the room on the fateful night to consume alcohol. Also, the police had also failed to take the samples of a blood soaked palm imprint on the terrace wall. By the time the CBI had taken over, the palm imprints had faded off in rains; yet the wall surface was scraped off to extract the imprints. The needle of suspicion turned to an employee of the Doctor at the clinic Krishna (Kanhaiya in the movie), and Raj Kumar, a servant in the adjacent flat. They were apprehended and questioned, and were subjected to narco-analysis test. In the narco-analysis test, they were shown as confessing to the crime, and detailing the events.

It was revealed in the narco-analysis that the both of them, along with another servant, had assembled in the room of Hemraj for consuming alcohol that night. They also watched some sleazy Nepali songs in the television.(It was later confirmed from the television channel that the songs matching with the descriptions given by Krishna and Raj Kumar had been telecast that day). During their drunken revelry, they prodded Hemraj to procure the bottle of Bellentine whiskey from the doctor’s cabin.  Yielding to their demand, Hemraj entered the doctors’ office through the door of his room which was opening to the apartment, and proceeded to the cabin, followed by the other two. Meanwhile, upon hearing the noise, Arushi opened the door of her room, and that moment, Krishna and Raj Kumar sprang into her room, and tried to molest her. In the ensuing commotion, Krishna hit the head of Arushi with the handle of his khukri (a Nepali knife), and she fell unconscious. Hemraj got petrified upon coming to know this, and the other two took Hemraj to the terrace and killed him there. After that, they came to Arushi’s room and slit her throat with the khukhri. They are also shown as taking a sip from the whiskey bottle kept in the dining table before fleeing, thereby leaving blood stains on the bottle.

Of course, the results of a narco-analysis test are not admissible in evidence as per the law settled by the Supreme Court in Selvi vs. State of Karnataka AIR 2010 SC 1974. However, the CBI officials were successful in procuring a blood stained pillow cover from the room of Krishna, which was found to be having the blood stains of Hemraj in forensic examination. That sealed that case insofar as the presence of blood of Hemraj in Krishna’s pillow totally negated the hypotheses floated by the local police that Hemraj was killed in Arushi’s room. It is also shown in the movie that the third person who was there in the drinking party at Hemraj’s room that day, was willing to be an approver before the Court. However, very soon, the charge of investigation is entrusted to a new team.

The Second CBI Investigation team.
It is suggested in the movie that a new investigation team was constituted immediately after the retirement of the officer who was supervising the first investigation team. The further insinuation dropped is that the new officer in charge manipulated the course of investigation to save the face of his friend, who happened to be the in-charge of the State Police investigation. Be that as it may, evidence and conclusions undergo a drastic change with the second investigation team. The pillow recovered from Krishna’s room, which had blood of Hemraj in it, gets interchanged with the pillow recovered from Arushi’s room. It is stated that pillow with Hemraj’s blood was actually recovered from Arushi’s room, and it happened to be referred as the pillow from Krishna’s room as a result of a typographical error. (Even the judgment of the CBI Court adverts to that aspect at page 158). Also, the theory of ‘honour killing’ propounded by the State Police is re-adopted. Statements from witnesses are taken again to suit the said theory.

It is pertinent to advert to the testimony of Dr. Sunil Dohre, the doctor who conducted the post-mortem examination of Arushi’s dead body, who deposed before court as PW-5. From the discussion at pages 172-174 of the judgment, it appears that his testimony has improved considerably to suit the theory that the deceased girl was habituated to sexual intercourse and that her private parts were cleaned after death to remove any doubts regarding sexual intercourse. However, in the post-mortem report, Dr.Dohre had  reported that no abnormality was detected in her private parts. Thereafter, in the statement given to the second investigation team on 30.09.2009, he makes a contrary statement, and deposes as above. However, the Court reconciles such testimony on the ground that none of the above investigators had questioned the Doctor regarding the same, and the Doctor had no occasion to give such statements until 30.09.2009 when he was probed on that aspect by the second CBI investigation team. But, one is left wondering as to why the Doctor noted no abnormalities in the post mortem report. One can only frown at such casual and cavalier manner in which the learned CBI judge gets over the inconsistencies in the statements of prosecution witnesses.

The Anti-Climax

The high point of the movie is the final twenty minutes, wherein both CBI investigation teams analyse their divergent conclusions in the presence of the Director. In a scenario which is reminiscent of the legal classic ‘Twelve Angry Men’, each inference of the teams are put to close scrutiny and thread bare deliberations. The viewers would find most of the conclusions of the second CBI team ludicrous and cringe worthy. One of the character describes the approach of the second team as this:- “ usually investigation teams first gather evidence, and form inferences and reach conclusions. But here the reverse has happened; first the conclusion is made, and evidences are searched and inferences gathered to suit the conclusion”. When the second team was confronted with the fact that no blood stains of Hemraj was found in Arushi’s room, it was retorted that the stains were cleaned. This attracts the comment whether the blood of Hemraj was blue in colour so that the parents could selectively wipe it out. Also, the dead body of Hemraj was found with slippers on; therefore the theory that he was in bed with Arushi before death was also rendered improbable. Thus, the propositions advanced by the second team induce laughter in the audience, creating a mood of dark humour, and as one of character describes, ‘their whole theory is a joke’. One gets the feeling from the events that professional rivalry, office politics and ego of the officers of State Police and CBI deflected the proper course of investigation.

Finally, upon weighing both the versions, the Director instructs the second team to file closure report in the case stating that there was no evidence to proceed against the accused. However, the Doctors filed a protest complaint to the closure report. They wanted the real culprits to be nabbed and prayed for further investigation. And, in an anticlimax of sorts, the Court dismisses the closure report to take cognizance of the offence, and directs the Doctors to stand trial.

Miscarriage of justice
It is pertinent to ask whether it is proper to assail a judicial order passed in a properly constituted legal proceedings on the basis of revelations in a movie. The veracity of the revelations in the movie has not been tested; and most of the information has not gone into record in the judicial trial as well. So one may frown at faulting the judgement on the basis of the information in the movie, which is primarily a work of fiction.

Nonetheless, the judgement appears untenable and shaky on its own facts and evidence on record, and many of the conclusions are disturbing to common prudence. The description of the approach of the second CBI team also fits the approach of judgements:- that conclusions were first made, and inferences were formed to suit them. The manner in which the judgement ignores the inconsistencies in the testimonies of Bharathi Mandal, the maid servant and the improvements in the statements of Dr.Dohre are in gross derogation of the tenets of criminal jurisprudence.  The prevarications in the statements of maid servant casts serious doubt on the proposition that the door was latched from inside, thereby necessarily leaving open the probability of outsiders coming in. Also, the belated revelations of Dr. Dohre ought not to have been relied upon, and discarding the same would have debunked the theory of sexual intercourse between the deceased persons. Thus, the whole concept of motive behind the crime would have been sent for a toss. Also, inferring that the Doctors were awake during the night on the basis of activity in internet router is also faulty, as the internet router detected activity even during the morning of 16.05.2008 when the police and neighbours had assembled in the room. The most shocking of the Court’s finding is that Doctors failure to hug their daughter’s body suggests their involvement in the crime.

Moreover, the chain of crime formulated by the prosecution does not inspire confidence. According to prosecution, the weapon was a golf club, which was kept in the attic of Hemraj’s room, and the sudden provocation for the act was the discovery of both the deceased in a compromising position by the father. It is too improbable and inconceivable a situation where a father, upon finding his daughter and servant in the middle of a sex act, withholds his initial reaction to go to the servant’s room to recover the golf club from the attic and comes back to the room of the daughter to bludgeon both of them, who were continuing the act. That is plainly not in the course of normal human conduct.

Equally confounding is the implication of Dr.Nupur Talwar in the crime. Assuming the prosecution version to be true, it would only emerge that the father bludgeoned Arushi and Hemraj to death in a fit of rage upon finding them in a compromising position. There is no explanation as to the involvement of the mother in this act of crime committed in a fit of rage. She is roped into the crime with the device of common intention under Section 34 of the Indian Penal Code. There is no indication that the mother was also present with the father when the deceased were caught red handed. So, where is the occasion to form common intention, one would wonder. However, without endeavouring to explain that aspect, the Court goes on an academic discussion of the abstract theory of common intention in pages 196 to 203 of the judgement, and finds the mother also guilty, without affording any explanation whatsoever as to the manner in which the propositions pertaining to common intention are placed in sync with the case in hand.

It has also to be said that the investigation in the crime, especially that of the local police, was shoddy and inept and that worked grave prejudice to the accused. The failure of the local police to spot the dead body of  Hemraj on the same day; their omission to get the blood soaked palm imprint at the terrace wall for forensic examination; their failure in collecting the finger prints in the Ballentine Whiskey bottle and the beer bottles and glasses in Hemraj’s room; the gross mix up of the pillow covers recovered from Krishna’s and Arushi’s rooms- all these resulted in foreclosing the chances of nabbing the real culprits. By the time the CBI had taken over the investigation, the palm imprint in the terrace wall had faded off. Yet, the samples from the terrace wall were scraped off by the CBI. Apparently, there is an advanced process called ‘Touch DNA’ which is available in United Kingdom, whereby DNA can be generated even from such faded samples. Dr. Talwar had moved applications before Court seeking to send the samples to UK for ‘Touch DNA’, undertaking to bear the expenses; however they were also not acceded to.

The CBI officer Arun Kumar, who had headed the first investigation team, in an interview to NDTV stated that the movie was 80% accurate to the true events. Anyway, the information revealed in the movie has not gone on record in the trial as evidence. The Talwars complain that they were not permitted to summon several witnesses of their choice, including the said Arun Kumar and allege that they have been denied a fair trial.

It may be borne in mind that the trial of the case took place in a highly vitiated atmosphere, in which all sorts of derogatory stories casting aspersion on the Talwars were being circulated freely in the media.  The widely held prejudice was that an affluent family was paying for its sins of a promiscuous life, and the Talwars were an anathema to the socially conservative and morally conscious psyche of Indian middle class. One cannot help suspecting that the Court too fell for such prejudices, and that might have prevailed upon the Court to proceed with the trial ignoring the closure report. In the concluding paragraphs, the judgment embarks upon an unwarranted homily about the sanctity of family values and parent-child relationship. The judgment of the Court too proceeds on an inverted application of presumption of innocence and burden of proof. The judicial approach is peculiar in that the entire burden of exculpating themselves are thrown on the accused with the aid of Section 106 of the Evidence Act.  One might even get the impression that the Court was morally prejudiced and predetermined to convict the Talwars, and in that zeal, several inconsistencies and improbabilities in the prosecution evidence were overlooked. Let’s hope for an intervention from the appellate court, and till then the Talwars will have to bear the doubly agony of losing their child and bearing the stigma of being the killers of their beloved; also the society facing the larger danger of a set of real criminals roaming scot free mocking the system. The judgment is not free from the pale of reasonable doubt. To conclude, the case has left several unanswered questions and missing links, calling for a further investigation and judicial re-examination.

Post Script
One may also question the propriety of a movie of this nature being made and released when the matter is still sub judice before the appellate Court. This, certainly has the tendency to prejudice the judicial mind and interfere with the process of justice. It may be recalled that the release of Anurag Kashyap’s movie ‘Black Friday’ on 1993 Bombay blasts was stayed by the Court till the appeals were finally disposed of by the Supreme Court. Anyway, there has not been any such objection against this movie so far. Possibly because there is a general sense of lack of closure with respect to the Arushi case, and a wide spread feeling of injustice being meted out to the Talwars. It is only the natural outcome of social dynamics that when the constitutional bodies fail to perform their functions, extra constitutional agencies will emerge to fill the void.





Prem Mardi vs Union of India :- Did the Court fail the tribes and adivasis?

Prem Mardi vs Union of India :- Did the Court fail the tribes and adivasis?

“It is the duty of all people who love our country to see that no harm is done to the Scheduled Tribes and that they are given all help to bring them up in economic and social status, since they have been victimized for thousands of years by terrible oppression and atrocities. The mentality of our country towards the tribal’s must change, and they must be given respect they deserve as the original inhabitants of India” – Supreme Court of India, in Kailas vs State of Maharashtra (2011) 1 SCC 793

Whether a movie which openly brands ‘adivasis’ and forest dwellers as ‘devils’ ‘demons’ and ‘uncivilized’, and has the plot of a demigod protagonist using his divine force and superhuman powers to ‘civilise’ the tribes by using force, is offensive to the sentiments of tribal communities; and if yes, whether such offence warrants the ban of the screening of the movie :- these were the broad issues which had arisen before the Hon’ble High Court of Delhi, in Prem Mardi vs. Union of India.  The petitioner in the case, who belonged to Santhal tribe of State of Jharkhand, a Scheduled Tribe, had approached the Court seeking the revocation of Censor Board Certificate granted to the movie ‘MSG2-The Messenger’ and a ban of its screening on the ground that the movie depicts the tribal communities in bad light. MSG2, under the production of Hakeekat Entertainment Private Ltd, is directed by Gurmeet Ram Rahim Singh, who is a spiritual leader in real life and the head of a spiritual sect named Dera Sacha Sauda.  The movie has Ram Rahim Singh playing himself, and portrays him as a demigod possessing supernatural powers. The trailer of the movie uploaded in YouTube declares that it is based on true events, and goes on to portray Ram Rahim Singh as a messiah of humanity. It openly says that the ‘adivasis’ residing in jungles have been declared as anti-national terrorists by the Government; and that they are neither humans nor animals, but demons(shaitaan). Ram Rahim Singh is shown as attempting to convert them as humans, often by resort to violence and force. Finding the said presentation of tribes in the trailer deeply offensive and distasteful, Sri.Prem Mardi approached the Court.  By judgment dated 16.09.2015, the petition was dismissed.

The Court begins its judgment by noting an irony in a petition seeking a ban coming up before the Court, when the Courts were being moved challenging the several other bans imposed by the State machinery on various aspects of life. The mindset of the Court is made very clear at the outset, which hints that the apprehensions of the petitioner are frivolous and trivial, and that the Court is going to act as a votary of liberties and artistic freedom. One must say that in its zeal to uphold artistic liberties, the Court proceeded on an inverted application of the fundamental right to freedom of expression enshrined in Article 19(1)(a) of the Constitution of India, disregarding the special protection and care afforded to the tribal communities by the Constitution.

Does the term ‘adivasis’ mean ‘Scheduled Tribes’?
The primary reasoning of the Court that the term ‘adivasis’ used in the trailer in Hindi language do not refer to tribal communities is bizarre and unrealistic. According to the Court, the term ‘adivasi’ refers to earliest inhabitants on any land, and that in the Indian context they refer to the people living in India before the arrival of the Aryans in the second millennium BC and descendents thereof. Therefore, the persons belonging to tribal communities need not take offence with regard to any remark made about adivasis. This approach of the Court is nothing but an over-simplification, and rests on debatable and controversial theories like Aryan invasion, regarding which there still subsists serious differences of opinion amongst eminent historians. Also, whether there are any ‘indigenous peoples’ in India, as it is understood in the context of western world, more particularly the American continents, is a matter which has been vexing the sociologists and anthropologists alike.  The erstwhile Chief Justice of India, Justice Y K Sabharwal, in his talk delivered in the Plenary Session on Rights of Indigenous Peoples, at International Law Association Toronto[1] ,makes reference to the issue. Quoting eminent sociologist Andre Betteile, it was stated that since India has witnessed the continuous movement of populations with different languages, races and cultures historically, it is difficult to identify the original settlers or indigenous peoples, and on account of intense assimilation of cultures over centuries, many communities have lost their unique traits and characteristics, and have merged with the mainstream. However, if indigenous people are understood as a distinct group of people maintaining a deeply bound community life with an inexorable link with the natural habitat , living separate from the dominant mainstream with their unique traditions, culture and peculiar approaches towards land, life and religion,  then the tribal communities have to be understood as the group of people entitled to the protection of rights made available to indigenous peoples.

Moreover, the Supreme Court of India has understood the term ‘adivasi’ as tribal communities in several cases. The decision of the Apex Court in Kalidas vs. State of Maharashtra (2011) 1 SCC 293, and Banwasi Sewa Ashram vs. State of UP AIR 1987 SC 341, uses the term ‘adivasi’ interchangeably with Scheduled Tribes. It cannot be said that such use of the term ‘adivasi’ was casually made, as the decision is Kalidas contains an erudite analysis of the history and evolution of the tribes, and presents them as the indigenous people in the Indian scenario. Be that as it may, the Hon’ble Judges of the Supreme Court have understood the term ‘adivasi’ as referring to tribes on several instances. It is also beyond dispute that the term ‘adivasi’ is understood by an ordinary man, in common parlance, as alluding to tribes.                       A complaint regarding offence caused by a piece of art work has to be adjudicated from the view point of an ordinary man of prudence, as stated by the Apex Court in K.A Abbas vs. Union of India AIR 1971 SC 481. Therefore, the Court misguided itself by importing the academic and esoteric connotations of the term ‘adivasi’, and ought to have adjudicated the matter from a common man’s perspective. Also, the conclusion that ‘adivasis’ do not refer to tribes is tremendously unfortunate and insensitive, as it amounts to negating the identity and existence of tribes, for they identify themselves as adivasis. 

Whether the portrayal of adivasis in the movie is offensive and insulting.

Although the Court observes that the tribal communities could not take umbrage at the disparaging references made to adivasis, the Court did strive to look at the issue from the viewpoint of a person who understands the term adivasi as meaning Scheduled Tribes. The Court held that the film was not depicting real life but fantasy and concludes that when the film traverses from the domain of real to surreal and depicts what none in his / her senses can believe to be possible and is in the realm of showing the impossible and fantastic, in my view it cannot be said to be capable of influencing any reasonable mind. In essence, the Court was of the opinion was that no reasonable person would take the movie seriously on account of its hyperbolic, exaggerated and over-the-top narration, and hence harmless. This approach of the Court is not sound. Any work of art is a product of imagination, and it will necessarily have elements of fantasy. The corollary of the said reasoning would be that only such kinds of artistic work, which belong to the realistic genre depicting life as it is, would cause offence and insult.  The Supreme Court in a recent decision in Devidas Ramachandra Tuljapurkar vs. State of Maharashtra  2015 SCC Online SC 486, wherein it was considering the issue whether a poetic work causing insult to Mahathma Gandhi was punishable for obscenity under Section 292 of the Indian Penal Code, held that the effect of the artistic work on the reader was the relevant factor rather than the original intention of the author. Also, the vantage point is that of a reasonable man of ordinary prudence for such test. Here, the cumulative effect of the utterances in the trailer of the movie would cast the tribal communities in a bad light in the perception of an ordinary viewer. The trailer unabashedly states that it was based on true events, and is unapologetic about the brazen insults showered on adivasis. Hence, it cannot be but concluded that the movie is insulting the tribal communities as a whole, and that the same was intentional from the part of the makers.

Does offence to a particular community justify the ban of an art work?

Communities taking presumed offence at artistic portrayals and clamouring for total ban of the artistic work is a recurring phenomenon in our country. Such umbrage is taken very often by fundamentalist elements of communities, and employing their clout, they take law onto their hands to secure ban of artistic works which are not palatable to them. However, the judiciary in India have been very vigilant in preserving the freedom of speech and expression and prevalence of rule of law from the threat and force of such extremist wings. In S.Rangarajan vs.P.Jagjivan Ram (1989) 2 SCC 574, when censorship certificate was refused to a Tamil movie Ore Oru Gramathile, on the ground that its anti-reservation theme was offensive to backward classes, the Supreme Court was moved and the Court made it categorically clear that freedom of expression cannot be held to ransom by intolerant groups. The Courts have been repeatedly deprecating the Governments’ practice of yielding to the unlawful pressure exerted by intolerant groups to ban movies and artistic works. Known as ‘heckler’s veto’, this undemocratic process by which a dominant and organized group uses its pressure and threat to violence to stifle artistic expressions, has been subject to severe criticism by our Courts. For example, the Andhra Pradesh High Court in Lakshmi Ganesh Films vs. Government of A.P in respect of move to ban movie “The Davinci Code” , as well as the Madhya Pradesh High Court in UTV Movies vs. State of M.P when ban was slapped on movie “Jodha Akbar”, upheld the artistic liberties against complaints of presumed offence. Recent movies like Kamal Hassan’s “Vishwaroopam”, and Aamir Khan’s “PK”, also were subject to attack from fundamentalist groups.  ‘Don’t watch it if you find it offensive’- this has been the general judicial approach with regard to such plea for ban on the ground that the movie portrays a particular community in bad light.

However, in the instant case, the Hon’ble High Court of Delhi committed a grave error by following the same approach, without adverting to the several factors which distinguishes the dispute from precedents. Firstly, here the insult or offence is not presumptive or inferential but direct, intentional and blatant. It also gets exacerbated because the movie mainly serves as a propaganda tool for Ram Rahim Singh, who is regarded as god-like by his followers and whose utterances are taken as gospel truth by the devotees. The humiliating depiction of the tribal communities in the movie, although done in a crass and ludicrous manner to a discerning viewer, is not innocuous as is made out in the judgment, but is a stark reflection of the deep rooted prejudices and distrust which the mainstream society harbours with respect to tribes, and the movie will only help reinforcing them in the social psyche leading to the further alienation of the tribal communities.

Secondly, the other instances seeking ban of film works witnessed a situation wherein a community, which is otherwise dominant, powerful and integrated into the mainstream society using its hold and clout to secure a ban on the basis of some presumed insult. So at least, there was an equal and level playing field amongst the offended group and the offensive group; whereas when tribal communities are targeted, there is no such level playing field. The tribal communities continue to be backward and unorganized, lacking a collective voice and political bargaining power, and are yet to be fully integrated into the mainstream Indian society. Even now there subsists considerable amount of malice, ill-will and paranoia amongst the mainstream with regard to the tribes. It was taking into consideration such peculiar facts that the Indian Constitution extends its protective arm to the tribes in the form of special consideration given through Articles 15(4), 341 and 342. That the tribes are victims of subjugation and oppression for centuries, and are still soft targets of gratuitous violence and  exploitation at the hands of the mainstream has been judicially acknowledged in decisions like Kalidas(supra) and Samatha vs.State of Andhra Pradesh AIR 1997 SC 3297. Our judiciary has never shied away from going an extra mile in providing them succour. When the construction of grand trunk road in Andman and Nicobar Islands was found to be disrupting the natural lifestyle of ‘Jarawa’ aboriginal tribes there, the Apex Court intervened to ban it. Later, in 2012, the Supreme Court banned[2] the despicable  ‘human safaris’, which were voyeuristic trips organized through Jarawa settlements. The high point in the campaign for protection of tribal rights arrived with the decision in ‘Niyamgiri’ case in 2013[3], whereby it was held that mining operations in Niyamgiri hills could be carried out only with the consent of the tribes residing therein. The ‘Niyamgiri’ hills were regarded as sacred by the tribes, and such worship was entitled to protection under Articles 25 and 26 of the Constitution. Also, in the Nandini Sunder case of 2011, which banned the ‘Salwa Judum’ operations in the State of Chattisgarh, the Supreme Court expressed its deep concern at the plight of the tribes.

Thus, it can be seen that the judiciary has always held the rights and interests of the tribal communities in a high pedestal, and that their rights and concerns trumped even the developmental needs(Niyamgiri), security concerns(Nandini Sunder), and the right of leisure and entertainment for general public(ban on trips in Jarawa settlement).Here, the Court was dealing with a movie, which made the tribal communities an object of mockery and humiliation for entertainment of the mainstream, which was also conveying a retrograde message that they constituted a threat to the security and order of society and hence should be tamed and controlled by using violence. Such depiction of tribal community will only result in deepening the mental gulf between them and the mainstream, and would certainly vitiate our social fabric, and endanger public order in the long run. To hold that the exception of public order under Article 19(2) is only extendable to those groups who openly wield stick and lathis for disrupting film exhibitions, and that alienation, victimisation and demonization of historically vulnerable tribal groups would not disrupt public order, is nothing but a defeatist approach frustrating the egalitarian principles embedded in our Constitution.

Redeeming artistic or social value

The Supreme Court of United States in Memoirs vs. Massachusetts 38 US 413, developed the test of ‘redeeming artistic or social value’ for salvaging an artistic work from an attack on the ground of obscenity, offensiveness etc. The said test has been adopted by our Courts in K.A Abbas and S.Rangarajan. The Courts will examine whether the impugned artistic work contains an redeeming artistic or social value which will justify its publication, notwithstanding the presence of elements of obscenity, offence etc. For example in Bobby Arts International case AIR 1996 SC 1846, the movie ‘Mother India’ received judicial protection, despite containing scenes of nudity and gross violence. If there is any preponderating artistic content capable of giving aesthetic bliss or cathartic experiences, or overwhelming social value highlighting a rampant social evil so as to elicit the disapproval of the same by the audience, the Courts will strain to salvage the work of art.

The movie, MSG2, terribly lacks any such redeeming artistic or social value. As stated earlier, it acts as a mere propaganda tool for cementing the position of Ram Rahim Singh as a spiritual leader by showcasing his heroics. Moreover, it acts as a vehicle of regressive and dangerous ideas by depicting tribes as demons and barbarians who ought to be humanised by use of force, and makes them an object of ridicule and humiliation in the name of entertainment. All the film reviewers were unanimous in their verdict that the movie was a pathetic work. Of course, the Court did not have the occasion to watch the entire movie, and made the judgment after viewing the trailer. However, in view of the specific prayer made by the petitioner for a special watch of the movie by the Court, the Court ought to have watched it to examine the presence of any redeeming artistic or social content.

One may frown at the suggestion that State should exercise quality control of artistic works and should sit in moral judgment over them. However, if the content of the art is such that it tends to have a deleterious effect on social fabric by noxiously portraying a vulnerable and voiceless community as demons, then the State can certainly embark upon such an enquiry. Law empowers the State to do so. And it is essential for an orderly and peaceful society, wherein diverse groups have to co-exist in harmony.

Guideline (d) of the Guidelines for Certification of Films for Public Exhibition issued in exercise of powers conferred by Section 5B(2) of the Cinematograph Act, 1952 mandated the Censor Board to ensure that visuals or words contemptuous of racial, religious or other groups are not presented and visuals or words which promote communal,  obscurantist, anti-scientific and anti-national attitude are not presented. Also, as per Section 3(x) of the Scheduled Castes and Scheduled Tribes (Prevention of Atrocities) Act, 1989 insulting or intimidating with intent to humiliate a member of a Scheduled Caste or a Scheduled Tribe in any place within public view, is an offence. A plain and direct application of the said provisions to the movie would attract the consequences under them. However, the CBFC failed to place due advertence on them while certifying the movie. Since the same amounted to a patent illegality, the Court could have reviewed the CBFC decision in exercise of its vast powers of judicial review.

By declining to do so, apparently in the name of upholding artistic liberties, the Court abdicated its powers, and thereby failed the tribal communities and missed an opportunity to reinforce and restore the faith of them in the Indian Republic.