CBFC censors ‘sex’ and ‘f**k’ in Steven Spielberg’s Disclosure Day

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On June 10, Bollywood Hungama reported that the Central Board of Film Certification (CBFC) sprang a pleasant surprise by passing three crucial films of the week with zero cuts – Bharat Bhhagya Viddhaata, Haunted – Echoes Of The Past and Backrooms. However, the sole exception was Disclosure Day. The film received its censor certificate at the eleventh hour and was required to make a few cuts. In a dialogue in the first act, the word ‘sex’ was muted. It occurs in the scene where Daniel Kellner (Josh O'Connor) learns that his girlfriend, Jane (Eve Hewson), was a nun. When asked whether she still follows the same religious commitments, Jane replies in the negative, pointing out that they’ve already had sex. It is in this dialogue that the CBFC made a change. The other word that got muted was ‘f**k’, and it occurred twice in the film. Once these changes were made, Disclosure Day was passed with a U/A 13+ certificate on June 11. The length of the film, as mentioned on the censor certifi...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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