One level of copyright infringement that has been consistently present is false. The scariest part is that there is not only openly what everyone reports and notices, but also on discreet and subtle levels; It is appreciated by the members of the Indian movement. How often do we use James Bond’s signature music in performances of many Indian films of the 60s and 70s or get confused to see Shammi Kapoor and his Yar Dilruba hum, which would be cruel to be compared to Elvis Dunn?

How many English songs of mixed origin, from ABBA to the Beatles to Osibisa and film-themed songs like Chariots of Fire, have been boldly captured and edited by leading Indian film music composers like R.D. playing and making unusual music alone?

Many well-known tunes from Indian films are direct footage of unknown creations. Take the example of the famous the sabs ke Kadam, which is Polly Wolly Doodle in Hindi. Then, at that point, there’s a brain producer in the air, Vidhu Vinod Chopra, whose famous dream expansion kiss Parineeta was thrown by the incomparable Louis Armstrong as Kaise paheli hai yeh kaise. Boating! The models are different and one cannot be surprised at the barbarism of it all. The melody of Yeh Hai Bombay Meri Jan, found on the lips of every proud Mumbaikar, is taken from My Darling Clementine.

We could go on talking about the melodies, but what about the various parts of the cinema that we are so proud of? Taking the status of Jodha Akbar, the acclaimed essentially authentic portrait of the respected Ashutosh Gowariker. The latter created in a one-on-one duel between Akbar and his eventual opponent is right to repeat the duel between Hector and Achilles in the film Troy.

Or, on the other hand, let’s take the example of the film Agnipath where the character of Amitabh essentially repeats Al Pacino’s performance in Scarface, right down to the hoarse voice. What this really shows are two things. One of them is that our directors and subscribers are vulnerable people who prefer to play it safe and change the premium content that is imagined elsewhere. Furthermore, they exploit the indifference and ignorance of the average Indian participating in the film, unaware that his cult objects are leading him on a wonderful journey.

It is therefore not surprising that the country’s major producers, including gossip and according to Mahesh Bhatt’s assessment, are opposed to the arrival of a global eponymous film in the Indian market as this would open it up to target audiences.

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