Vedaa, starring John Abraham and Sharvari, has been in the headlines because its producers revealed two weeks ago that, despite having applied for their film’s certification well in advance, they still haven’t received a censor certificate. After viewing the movie at the end of June, the CBFC Examining Committee (EC) forwarded it to the Revising Committee (RC). On July 29, the RC finally saw the movie and decided to clear it after the makers gave their statement.

There have been rumors circulating that the movie has not had any cuts made. However, Bollywood Hungama has discovered that the CBFC’s RC made several deletions and adjustments to Vedaa.

Exclusive: CBFC omits 9.14 minutes of footage from the Vedaa film starring John Abraham and distorts images showing money notes being torn.

First, narration and a revised disclaimer lasting one minute and sixteen seconds were requested. Changes were requested to a conversation that contained disparaging remarks about women and social identities. Then, a dangling scene that lasted for two to sixteen seconds was removed. The Jodhpur High Court was mentioned without using the word “Jodhpur,” and it was requested that images of violence within the court’s walls be toned down by 30%. The producers were forced to cut the movie’s duration by 6 minutes and 15 seconds.

Not only that, but there’s also a character heard enjoying a mobile phone audio clip featuring Sanskrit shlokas. The CBFC removed this music.

“Bana” was used in place of the derogatory term “behenkhor.” Additionally, the CBFC requested that images showing currency notes being torn and bits of torn notes be blurred. It was also requested that the line “Brahmin son…Shudra’s son” be removed.

Finally, the filmmakers included genuine references to show that the movie is based on real-life occurrences, such as newspaper stories, court rulings, religious texts, etc.

The CBFC eliminated nine minutes and fourteen seconds from the movie overall. On August 6, Vedaa received a U/A certificate following the completion of the modifications. The certificate states that the movie is 150 minutes long. Put differently, Vedaa lasts for two hours and thirty minutes.

August 15 is when the Nikkhil Advani-directed film opens in theaters.

“Padma Shri Ramesh Patange was the Presiding Officer of the RC,” a source told Bollywood Hungama. It is well known that he approves movies about which the EC has doubts. He just passed the contentious movie Hamare Baraah, thus it should come as no surprise that he also passed Vedaa, albeit with some changes.

Day 4 box office receipts for Auron Mein Kahan Dum Tha: Neeraj Pandey’s romance drama with Tabu and Ajay Devgn has not been doing well in Indian theaters.

Mein Kahan Dum Auron Day 4 box office receipts: This past Friday’s opening performance of Neeraj Pandey’s love drama, which stars Ajay Devgn and Tabu, was significantly below expectations. Sacnilk reports that although it increased steadily over the weekend, it fell on Monday.

Dip on the initial Monday

On its fourth day in India, Auron Mein Kahan Dum Tha was able to make almost ₹1 crore nett, but it failed the infamous Monday test.

This was a significant decrease from the movie’s Sunday profits, which were ₹2.75 crore nett, the biggest it has earned thus far. On Saturday, the movie brought in ₹2.15 crore nett in India. The movie had the lowest opening weekend gross of any Ajay and Tabu movie in recent memory on Friday, taking in ₹1.85 crore net. At the domestic box office, Auron Mein Kahan Dum Tha has earned an estimated ₹7.75 crore nett thus far.

At the box office, the movie faces off against Sudhanshu Saria’s spy thriller Ulajh, which stars Janhvi Kapoor and Gulshan Devaiah. At the domestic box office, other holdover movies such as Nag Ashwin’s dystopian sci-fi epic Kalki 2898 AD, starring Prabhas, Deepika Padukone, and Amitabh Bachchan, and Shawn Levy’s buddy Marvel blockbuster Deadpool & Wolverine, starring Ryan Reynolds and Hugh Jackman, are still doing well. This month’s Independence Day is the last day of new Bollywood releases.

In reference to Auron Mein Kahan Dum Tha

Saiee Manjrekar and Shantanu Maheshwari co-star in Auron Mein Kahan Dum Tha. The movie’s release date was originally scheduled for July 5, but the producers decided to delay it.

Ajay and Tabu, who have previously collaborated on several films such as the Drishyam franchise, Bholaa, Golmaal Again, and De De Pyaar De, are also working together on this film.

According to the Hindustan Times’ review, the movie may have been improved with a little cutting. Unfortunately, Neeraj Panday—who also receives literary credit—excesses himself. The final scene of the movie declares, “Sometimes, it never ends.” Exactly how I felt at one point about the movie.

Review of Kastoori: The inexperienced filmmaker is well aware of the message he wants to convey. He makes effective use of the two young performers as well as his other resources with a level of competence and accuracy that belies his inexperience

In Kastoori (The Musk), Vinod Kamble employs his personal encounters as a foundation for a compelling and uncompromising analysis of how the caste system disempowers those who are already underprivileged.

In the tale that Kamble relates, a youngster from a poor family of manual scavengers has subtle psychological damage from social rejection, which drives him to seek solace from the stigma associated with it.

The teenage protagonist’s quest is used by the movie to highlight all the obvious flaws in exploitation and oppression that are imposed by society.

While the independent Marathi-Hindi film does not hold back, it also does not throw stones at the boy’s tormentors or yell at the top of its lungs to draw attention to the terrible, pervasive injustices that exist. The film was shot in and around the village in the Solapur district of Maharashtra, where the director was raised.

Kastoori’s only goal, which he accomplishes with effectiveness, is to make us aware of the atrocities of the caste system. The story tells the tale of a schoolboy who, in his naivety, thinks that musk can make him forget the offensive smell that his caste-assigned calling leaves on his body and clothing.

Apart from that, Kamble and Shivaji Karde’s script Kastoori explores the intricate and unbreakable social constraints that keep people who are handicapped due to their birth from escaping the harmful roles that are imposed upon them.

After a protracted wait, Kastoori has finally arrived at the multiplexes, highlighting the predicament of indie film in a distribution system that only cares about its bottom line. Anurag Kashyap and Nagraj Manjule present the movie. By the way, it was Manjule’s biting Fandry that gave Kamble the confidence to recount his own experience without resorting to any kind of soft-pedalling.

Gopinath Chavan (Samarth Sonawane), fourteen, goes to religious lectures with his grandmother. He hears a tale of a divinity that materialized from cow poo during one such meeting. He asks his grandmother: Did he not smell bad? No, she answers. She continues, “Since he is a god, he smelled like musk.”

Stories of gods who magically wish away all obstacles could not be more different from Gopi’s situation; however, after spending so much time cleaning toilets, assisting his alcoholic father in dissecting bodies in a hospital morgue, and burying the unclaimed dead, the teenager develops an obsession with his own stench.

Along with his best buddy and classmate Adim (Shravan Upalakar), he decides to get musk, turn it into perfume, and get rid of the stench all around him. For the two lads, that is a big order.

Obtaining funding to purchase musk from a nearby vendor presents the most significant obstacle. However, motivated by Adim, Gopi decides to figure out a means to achieve his goals. He is sick and tired of the problems his caste identity has brought him.

For Gopi, discrimination is an unavoidable part of daily existence. He is shown scrubbing a toilet in the opening scene of the movie while wearing his school uniform. The boy’s perfume vial is empty, yet he can’t bring himself to discard it.

He hears casteist taunts from his peers. One of them witnesses him clearing gutters with an elderly cousin named Mangal (Ajay Chavan). The next day at school, Gopi gets made fun of. Mangal almost drowns in a sewage tank, but naturally, he gets the blame for the almost fatal incident.

When his indebted father loses his work at the morgue, it hinders his ability to complete his schooling. Gopi takes a job as the doctor’s assistant, which takes up all of his time away from school. He is adamant that he wants to concentrate on his education, but Asha (Vaishali Kendale), his mother, tells him that work is what feeds people, not grades.

She tells Gopi that no matter how much she studies, she would always be a sweeper. At this point, the screen goes black and stays that way for some time. So, for the academically bright Gopi, is this the end of it all? As the prospects disappear, Gopi can only lament his lot in life.

When Gopi refuses to skip school and go to work, Asha tears a textbook in two scenes. He cannot rebel against his mother. It’s clear that Gopi does not enjoy her work in the morgue. However, Kamble chooses to use sound effects rather than actual body parts to depict the horrifying nature of the postmortems that Gopi helps his father and later the doctor with.

For Gopi, even brief moments of delight come from visits to Adim’s uncle’s perfume store. Adim sticks at Gopi’s side the entire 100-minute Kastoori, encouraging him or serving as a sobering reminder of reality. The world is harsh for them, yet the pair persists.

The community speaks Marathi, but Gopi and Adim converse with one another in Hindi. Additionally, Gopi’s family speaks Hindi. There are multiple levels and causes to othering. The two lads must deal with a multitude of differences, including those related to caste, religion, language, and occupation. But they continue with joy.

Gopi triumphs in a contest for writing Sanskrit essays. Republic Day is the day set aside for the reward ceremony. Adim is ecstatic, but Gopi worries that he might not be able to make it to school. There is not much time left for him to get the musk he wants.

A large portion of Kastoori’s strength originates from its rejection of ornate technical details. It’s an easy movie about an intricate reality. The inexperienced filmmaker is well aware of the message he wants to convey. He makes effective use of the two young performers as well as his other resources with a level of competence and accuracy that belies his inexperience.

Kastoori is a must-see if you value movies that make a statement on the society we live in.

Cast:

Samarth Sonawane, Anil Kamble, and Shravan Upalakar

Director:

Kamble, Vinod