Kissa Kursi Ka (1977) Directed by Amrit Nahata, it occupies a unique and controversial position in the history of Indian cinema as one of the most politically significant films ever produced in the country. political satire film directed by Amrit Nahata, who was a member of the Indian Parliament, and produced by Badri Prasad Joshi. The film was a satire on the politics of Indira Gandhi and her son Sanjay Gandhi and was banned by the Indian Government during the Emergency period, and all prints were confiscated. The complete cast features Shabana Azmi, Raj Babbar, Chaman Bagga, Utpal Dutt, Raj Kiran, Katy Mirza, Surekha Sikri, Manohar Singh, Rehana Sultan, and Swapna Sundari.

The music of the film was composed by Jaidev Verma. Conceived as a satirical critique of authoritarian politics, personality cults, and the misuse of state power, the film became inseparable from the political turmoil of the Emergency (1975–1977), a period marked by the suspension of civil liberties, censorship, and extensive governmental control over the media. More than a cinematic text, Kissa Kursi Ka emerged as a symbol of the struggle between artistic freedom and political authority, illustrating the extent to which cinema can function as an instrument of political dissent.

The plot revolved around a corrupt and evil politician Gangaram or Gangu, played by Manohar Singh, trying to woo the personified public, depicted as mute and helpless-looking (Shabana Azmi.) The movie is a humorous comment on the system and the selfishness of the politicians, regarded as a motion picture version of the cartoonist columns that are the most brutal taunt over politics.

The film satirizes the functioning of democratic institutions by exposing the nexus between political ambition, bureaucratic manipulation, corruption, and public deception. Through allegorical characters and sharp political humour, it critiques the concentration of power in the hands of political elites and questions the erosion of democratic values under authoritarian governance. Although the narrative employs fictional characters, its political references were widely understood to allude to the contemporary leadership of Prime Minister Indira Gandhi and the growing influence of her son, Sanjay Gandhi, making the film one of the most contentious political satires in Indian cinematic history.

The controversy surrounding Kissa Kursi Ka extended far beyond its narrative content. Before its release, the film was denied public exhibition during the Emergency, and its prints were confiscated and reportedly destroyed. The subsequent legal proceedings became one of the most significant instances of political interference in Indian cinema, highlighting the vulnerability of filmmakers to state censorship and executive power. Following the restoration of democracy in 1977, the film was reconstructed from the original script and surviving materials and eventually released, transforming it into a powerful historical document that reflects the complex relationship between cinema, politics, and freedom of expression in India.

The legal case ran for 11 months, and the court gave its judgment on 27 February 1979. Both Sanjay Gandhi and Shukla were sentenced to a one-month jail term and a two-year jail term. Sanjay Gandhi was denied bail. The verdict was later overturned. In his judgment, District Judge O. N. Vohra at Tis Hazari Court in Delhi found the accused guilty of "criminal conspiracy, breach of trust, mischief by fire, dishonestly receiving criminal property, concealing stolen property and disappearance of evidence".

From a film studies perspective, Kissa Kursi Ka represents a landmark in the tradition of political satire in Indian cinema. Its importance lies not merely in its cinematic techniques but in its historical context, ideological intervention, and enduring relevance to debates concerning censorship, democratic accountability, and the role of filmmakers in challenging political authority. The film demonstrates how satire can transcend entertainment to become an effective mode of political critique, exposing the contradictions of power while encouraging public reflection on governance and democratic responsibility. Consequently, Kissa Kursi Ka remains an indispensable text for understanding the intersections of cinema, state power, political communication, and resistance in postcolonial India.