Satluj: The anti-corruption story almost destroyed by censorship

Almost four years after it was initially completed, Satluj, starring Diljit Dosanjh, finally released on streaming platform Zee5, before being taken down just two days later. Despite its removal however, Satluj is a wonderfully harrowing account of one of the darkest periods of post-independence Indian history, uncovering the secrets of government and police corruption during the 1980s and 90s. It is undoubtedly one of Indian cinema’s standout films this year.

Satluj tells the story of Punjabi human rights activist Jaswant Singh Khalra, played by Diljit Dosanjh. Director Honey Trehan pours his heart into the story and uncomfortably displays the atrocities of the period, ensuring nothing is left to the imagination.

Suvinder Vicky … is devastatingly effective as a menacing senior superintendent of police, leaving us on the edge of our seats with his contempt for and invasion of other characters’ personal space

Dosanjh demonstrates why he deserves to be viewed as one of Indian cinema’s finest actors. His steeliness and body language are faultless. His delivery is excellent, including a Shakespeare-esque monologue in a darkly lit bedroom in the film’s second half, and is perfect in his depiction of Khalra’s unwavering determination. Arjun Rampal is clinical and composed in the role of a CBI official unwilling to take no for an answer, while Saurabh Sachdeva is well-utilised, rather than being typecast as he has become in Hindi-language films recently. Geetika Vidya Ohlan provides great support with a strong performance as Khalra’s wife. A final mention must go to Suvinder Vicky, who is devastatingly effective as a menacing senior superintendent of police, leaving us on the edge of our seats with his contempt for and invasion of other characters’ personal space.

The film’s writing and soundtrack are stunning. As previously alluded to, Khalra’s monologues are incredibly impactful, and the police force’s sinister jokes and disregard for law and order are captured perfectly. Marc Marder’s score enhances Satluj’s message. The film’s opening scene is testament to this, with drunk police officers on duty, before a gradual shift in the soundtrack to an ominous score, as it becomes apparent that we are about to see a first set of extra-judicial murders.

The film does drag slightly in its pacing beyond the half-way mark, but this is natural given the change of direction it must undertake. Another criticism of Satluj has been a perceived ignorance of the terrorist threat that existed within Punjab during this period. However, in my opinion this is sufficiently accounted for.

The film’s creators were embroiled in a censorship-related tussle with India’s Central Board of Film Certification … the CBFC demanded 127 cuts to the film be made

No conversation regarding Satluj is complete without discussion of the challenges associated with releasing the film. It tells the true story of Jaswant Singh Khalra, who investigated the mysterious disappearances of many young Sikhs at the hands of the Punjab police. He would go on to learn that these disappearances were in fact caused by extra-judicial murders carried out by the police as an incentive for career advancement (usually in the form of promotions) under the pretence of fighting terrorism following Operation Blue Star.

The film’s creators were embroiled in a censorship-related tussle with India’s Central Board of Film Certification (CBFC). The name of the film has been changed three times, initially being dubbed Ghallughara before being titled Punjab 95 in a nod to the scene of the extra-judicial murders, and the year of Khalra’s abduction. Furthermore, the CBFC demanded 127 cuts to the film be made, transforming its message and undermining its capacity to convey the truth. Trehan himself stated that “anything that was a reference to reality was to be removed”, including mentions to Khalra himself. Trehan and Dosanjh therefore, adamant that the film be released only with the integrity of its story uncompromised, forewent a theatrical release and released the film directly onto streaming platforms without any marketing or promotional content.

It can only be assumed that Satluj, perhaps given that it tells the story of a smaller and historically persecuted Indian community and religious group, has been mislabelled as having problematic political undertones

This struggle has drawn extensive criticism from audiences and critics alike, with the CBFC’s effectiveness being called into question. It is certainly alarming that many films have been released during this four-year period that contain politically motivated messages and threaten to spread hate and disunity. Not only have these films been released theatrically, but they have also gone to break box office records. Yet it can only be assumed that Satluj, perhaps given that it tells the story of a smaller and historically persecuted Indian community and religious group, has been mislabelled as having problematic political undertones. It is important to distinguish between a film that is anti-police, and anti-corruption, and Satluj is undoubtedly the latter.

Ultimately, Satluj tells a pivotal story of a devastating human rights injustice. However, it also conveys the courage and unrelenting determination of one man’s attempt to uncover the darkness that had enveloped an entire community. Anyone interested in Indian history should watch this film, as its message concerns a suppressed history that has continuously been sought to be covered up. In other words, Satluj depicts, as Arjun Rampal’s character CBI officer Samudra states, the “biggest genocide our country has seen post-independence”.

★★★★ ½