EXCLUSIVE: CBFC replaces 'bachhi' with 'ladki' in Mardaani 3; modifies slapping visuals

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After the success of Mardaani (2014) and Mardaani 2 (2019), Rani Mukerji is back as the fiery inspector, Shivani Shivaji Roy, with Mardaani 3. The film, produced by Yash Raj Films (YRF), was originally scheduled to be released on February 27. Earlier this month, it was preponed and now it’ll arrive in cinemas in less than a week, on January 30. Accordingly, the makers completed the censor process in time. In this article, Bollywood Hungama will exclusively focus on the cuts suffered by the action thriller. To begin with, the Central Board of Film Certification (CBFC) asked the makers to insert drug disclaimers. The word 'bachhi' was replaced with 'ladki'. Since the scene in question involved sexual violence, the makers had to submit age proof of the actor to clarify that she was not a minor. Then, visuals of a girl being slapped were modified. The word 'wh**e' was replaced with 'trader' in the English subtitles. A derogatory reference towards mother wa...
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The Narrow Road review – tough times for the downtrodden in pandemic Hong Kong

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After deciding it’s time to seek help with his cleaning business, despairing Chak meets the zanily upbeat Candy

Set in Hong Kong during the early days of the pandemic, Lam Sum’s tender drama pictures a city haunted by economic and political uncertainty. Storefronts are plastered with foreclosure and bankruptcy notices, while talk of moving abroad hovers amid everyday conversations. Plagued by faulty equipment, the one-man sanitary service operated by world-weary Chak (played by Cantopop star Louis Cheung) is on the verge of breaking down. When asked by his ailing mother if God is telling him to give up the business, Chak self-deprecatingly describes himself as a speck of dust, so tiny that even the deities would not take notice.

Reluctantly hired as an extra pair of helping hands on his cleaning rounds, single-mom Candy (Angela Yuen) enters Chak’s life like a whirlwind of chaos. With her impossibly sunny attitude and colourful fashion sense, Candy could have come off as a manic pixie archetype; Yuen instead manages to lend an emotional weight to the character’s capricious quirkiness. A particularly devastating sequence finds the pair scrubbing the human-shaped stain left by a nameless soul who has died alone in squalor, another speck of dust forgotten by the outside world.

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