The film ‘Ghuskhor Pandit’ starring Manoj Bajpayee is at the center of a nationwide furor, with its provocative title drawing sharp rebukes from various quarters. Congress leaders have united in condemnation, viewing it as a deliberate slight against Brahmins and Sanatanis. UP Congress chief Ajay Rai set the tone in an IANS interview, branding the title as deeply offensive and symptomatic of a pattern targeting religious icons.
‘This is no isolated film title; it’s an assault on societal values and sensitivities,’ Rai declared. He warned that naming practices that vilify communities breed discord and distort public perception.
Rakesh Sinha, another party heavyweight, took it further by petitioning the censor board for swift action. ‘Films must foster unity, not stoke divisions by maligning entire groups,’ he stated firmly. Sinha’s plea underscores fears of escalating communal friction if left unchecked.
Surendra Rajput, Congress spokesperson, navigated the tightrope of free speech. ‘Artistic liberty has limits when it inflicts emotional pain on communities,’ he observed. He pushed for impartial scrutiny to protect both filmmakers and public peace.
Echoing across Parliament, MP Pramod Tiwari decried caste-based generalizations. ‘Corruption or vice is personal, not hereditary,’ he asserted. Tiwari’s stance highlights how such portrayals erode social cohesion.
Sukhdev Bhaght, fellow MP, advocated mindful expression. ‘Freedom of speech is vital, but so is empathy,’ he remarked. With cultural references abound, he cautioned against weaponizing them for prejudice. The uproar signals a broader debate on cinema’s role in shaping—or shattering—social narratives.
