EXCLUSIVE: CBFC asks for 15 cuts and modifications in The Kerala Story 2: Goes Beyond; reduces kiss and rape visuals by 50%

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The Kerala Story 2: Goes Beyond is all set to release this Friday, February 27, and it has managed to create considerable noise on social media because of its shocking and controversial content. Usually, such films often contain disturbing content and, as a result, are meant for only adult-viewing. Hence, it was a surprise for the trade and industry that the Central Board of Film Certification (CBFC) passed the film with a U/A 16+ certificate. However, the CBFC asked for 16 cuts or modifications in the film. To begin with, the visuals of kissing were reduced by 50%. In short, the lip-lock scene was shortened by 7 seconds. Similarly, the rape scene visuals were also reduced by 50%, that is, by 20 seconds. Two scenes - one of a woman being slapped and the other of a woman's head being hit - were both reduced by 2 seconds. The visuals of the house of the accused being demolished with a bulldozer were asked to be modified. Three dialogues, at three different places, were modified whi...
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Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

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Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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