(Published in Himal, September 2009)
Sometime in 1996, the High Court of Andhra Pradesh received an anonymous letter informing the court that pornographic films were being shown in a cinema hall called Ramakrishna 70MM. The court proceeded to send two ‘lady advocates’ to ascertain the facts. In their subsequent affidavit, the advocates informed the court that they had gone to watch a film in the theatre and, after repeated obstacles – the ticket seller refusing to sell them tickets, the doorman asking them to go home, etc – they finally managed to find a seat inside the theatre. There, they were promptly informed by the manager that the film that was to be screened could not be seen by ladies, and they were ordered to leave. Following the report by the advocates, the court proceeded to have all the prints seized, and arranged for a screening for various officers of the court. The officers found the films to be a hodgepodge of short films, films-division features, advertisement films, political-party propaganda films, Hindi and Telugu feature-film bits and, of course, lots of porn clips thrown in for good measure. The court then ordered the closure of the theatre.
This would seem like just another day at the office for someone interested in the relationship between law, cinema and sleaze. But let us pause and consider one moment in this narrative a bit longer, as it contains a key to understanding the secret relationship between law and cinema. Let us look more closely at the moment when the officers of the law are huddled together in a small dark room, with notepads and pens, watching a montage of images – what must that have been like? Was there a conspiratorial silence when the nude descended the stairs, or a nervous giggle when the camera lingered for a second too long on the French kiss?
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