If imitation is the best form of flattery, these Bollywood remakes of Pakistani films show that there’s more that connects us than our differences.
While it’s fairly old news that Bollywood has a tradition of remaking regional movies, what if we told you that this tradition applied to movies from Pakistan, too?
Story Time: It All Began With a Camera
Once upon a time not that long ago, a man brought a camera from England to India. The man’s name was Sakharam Bhatavdekar, and the year was 1899. When Bhatavdekar recorded a short video of a wrestling fight in Mumbai’s Hanging Gardens, he didn’t know that he was laying the foundations of a movie industry that would one day become the largest in the world. A little over a decade later, India produced the first full-length silent movie titled Raja Harishchandra created by Dadasaheb Phalke and the rest, as they say, is history. While that was the beginning of Lollywood, what most don’t know is that at the same time, in undivided India, another film industry was also taking root.
Pakistan’s film industry, which came to be known as Lollywood, started in 1929 with the opening of the United Player’s Studios on Ravi Road. During the early years, Lahore was just one of the film centers in undivided India like Mumbai and Kolkata, with actors and filmmakers working and moving freely (imagine the depth of talent and the possibilities if that industry had been allowed to grow.)
The Parting of the Ways
After the independence of India and Pakistan, which led to the greatest migration the world had ever seen, it was only but natural that the film industries in both countries would be affected as well. Pakistan and India both lost many of their greatest talents. There were tough choices to be made as artists had to make the heartbreaking decision of saying goodbye to one part of their identity as they committed to another. Just as Pakistan got talents such as Noor Jahan and Swarnalata, India also welcomed artists such as Pran and Om Prakash, who bid adieu to Lahore and started their journey in Bollywood.
Also Read: The Curious Case of Rajkumar Hirani
It’s the Stories that Unite Us
While it might not seem like it now, there was a time when Lollywood was almost at the same level as its sister industry, Bollywood. During those years, especially the first four decades following partition, when both countries had banned each other’s movies, there were many cases of films being copied.
We feel that there was nothing wrong with the imitation. If anything, it showed that boundaries and borders could not create a wall between hearts. In fact, even during the years when films were banned, the love and interest in each other’s films only grew.
So, without further ado, here are ten instances of Bollywood copied from Pakistani movies:
Jhuta Sach (1984) – Remade From Sangdil (1982)
Following the death of his beloved wife Sunita, Vijay single-handedly raises his two children, Bhishan and Charulata. Feeling the need for a motherly figure, the children encourage their father to find a new wife. They eventually settle on Alka, a stage singer who lives by herself. Vijay and Alka find mutual affection, marry, and embark on a honeymoon. Tragically, while returning from their honeymoon, Vijay drives recklessly, resulting in a fatal car crash.
Devastated and unable to break the heart-wrenching news to Bhishan and Charulata, Alka finds an unconventional solution. She enlists a notorious outlaw named Tiger (we need to do a whole feature on how so many villains during the 80’s in Bollywood were Tiger), who bears an uncanny resemblance to Vijay, to pose as their father. Tiger’s mission is to act in such a way that the children grow to despise him, after which he will disappear, all for a reward of 3 lakh rupees. The plan unfolds as expected, with the children growing increasingly disillusioned with this new version of their father.
However, on the last day of this arrangement, a crisis erupts when Alka learns that Bhishan and Charulata have been kidnapped, with the captors demanding a ransom of 25 lakh rupees. The story’s climax revolves around uncovering the kidnapper’s identity and determining whether Tiger is involved in this sinister plot.
Jhutha Sach was directed by Esmayeel Shroff and produced by A. G. Nadiadwala. It was released in 1984 and featured Dharmendra and Rekha in leading roles. The film was a remake of the Pakistani film Sangdil, which featured Nadeem, Babra Sharif, and Bindiya in leading roles. The story was written by Syed Noor, and the film was released in 1982.
Alag Alag (1985) – Remade From Meherbani (1982)
The story revolves around Chandni, a woman from a poor background who moves to Bombay with the goal of marrying a rich man to escape poverty. She mistakenly thinks Neeraj, an aspiring playback singer, is wealthy and proposes marriage, but quickly leaves him upon discovering he isn’t rich. Meanwhile, Chandni takes refuge in the home of Dr. Rana to avoid a goon, and the compassionate doctor allows her to stay, enjoying her presence after his wife’s death. As Neeraj struggles with his career, he encounters a famous actress, Saritha, who deceives him with false promises of aid.
Both Chandni and Neeraj face personal growth and setbacks; Chandni plots to marry Dr. Rana for security, while Neeraj realizes he loves her. After various complications, including Neeraj losing his voice in an accident and Dr. Rana’s death, Chandni and Neeraj’s paths diverge. Neeraj secretly supports Chandni’s rise to fame as a singer, despite her harboring resentment towards him for leaving. The film concludes with the anticipation of whether Chandni will discover Neeraj’s true intentions and if he will ever regain his voice.
Alag Alag, came out in 1985 Bollywood and featured Shashi Kapoor, Rajesh Khanna, and Tina Munim. The film was produced by Rajesh Khanna and directed by Shakti Samanta, one of his preferred directors. The film is particularly noted for its unique narrative and the scenic shooting locations in Kashmir. It draws inspiration from the 1982 Pakistani film Meherbani, produced by Parvez Malik and featuring Mohammad Ali, Nadeem, Babra Sharif and Nayyara Sultana.
Adhikar (1986) – Remade From Qurbani (1981)
Vishal, a former champion jockey, retires from racing due to health issues and raises his son Lucky alone, telling him his mother has passed away. The truth is Lucky’s mother, Jyoti, left after a dispute with Vishal over her singing career, which led to a strained marriage. Vishal and Lucky live a modest life, while Jyoti becomes a successful singer. Unbeknownst to Lucky, Jyoti re-enters his life as his “aunty.”
As Lucky grows, tensions arise when Vishal’s employer’s sister, Rita, takes an interest in him, which disrupts their life further. After a series of events, Jyoti takes Vishal to court for custody of Lucky, leading to emotional turmoil. In court, Vishal eventually concedes custody to Jyoti, but the custody battle and a dramatic incident involving Vishal’s former boss and Lucky’s horse, Hira, bring the family back together. Vishal collapses after winning a race with Hira but survives, confirming to Lucky that Jyoti is his mother. The story concludes with the family reunited and living happily together.
Adhikar came out in 1986 and featured Rajesh Khanna and Tina Munim in leading roles. Qurbani which came out in 1981 had Nadeem, Shabnam, Nimmo and Deeba in leading roles and was directed by Pervez Malik.
Oonche Log (1985) – Remade From Dehleez (1983)
This was a case where both films followed the template of a famous novel. Dehleez, a Pakistani Urdu-language drama film from 1983, adapts Emily Brontë’s 1847 novel Wuthering Heights for its storyline. Syed Noor penned the screenplay, featuring performances by Nadeem and Shabnam, alongside Afzaal Ahmad and Agha Talish. The film’s soundtrack was crafted by composer Kamal Ahmed. The film was a box office success, going Diamond Jubilee. It was also critically lauded, winning seven Nigar Awards. Two years later, the film provided inspiration for the Rajesh Khanna and Salma Agha starrer, Oonche Log.
Jeene Nahi Doonga (1984) – Remade From Maula Jatt (1979)
Long-standing enmity has plagued the communities of Jangavar and Dilavar. In an effort to foster peace, Dilavar’s own Roshan marries Chandni as a symbol of unity. However, this action provokes the Jangavars, leading to an attack that results in Roshan’s death. With his dying breath, Roshan implores his twin brother, Raka, to continue the peace efforts by arranging a marriage between their brother, Badal, and Reshma, the sister of Shaka from Jangavar.
Raka strives to fulfill this last wish, facilitating a meeting between Badal and Reshma, who eventually fall in love. When Badal proposes, Reshma agrees to marry him on one harrowing condition: Badal must kill Raka and deliver his head to Jangavar. The narrative then revolves around whether Badal will go through with this gruesome demand to secure peace and marry Reshma.
Jeene Nahi Doonga was the 12th highest grossing film in 1984. It was directed by Rajkumar Kohli and features Dharmendra in dual roles, alongside Shatrughan Sinha, Raj Babbar, Anita Raj, and Roshni. Its storyline draws inspiration from the 1979 Pakistani film Maula Jatt, a Punjabi-language action film that achieved cult status over the years and was finally remade in Pakistan to worldwide acclaim. The original Maula Jatt was directed by Yunus Malik and produced by Sarwar Bhatti. Additionally, it served as an unofficial follow-up to the 1975 film Wehshi Jatt, which also starred Sultan Rahi as Maula Jatt with Mustafa Qureshi playing his nemesis, Noori Natt.
Honorable Mentions
- Muhabbat Ki Aarzoo (1994) – remade from Dillagi (1974)
- Pyar Jhukta Nahin (1985) – remade from Aaina
- Pati Patni aur Tawaif (1990) – remade from Bazar-e-Husn (1988)
- Paap Ki Duniya (1988) – remade from Faisla (1986)
- Namak (1996) – remade from Pehchaan (1975)
- Inteha Pyaar Ki (1992) – remade from Parwana (1985)
- Naukar Biwi Ka – remade from Naukar Wohti Da
The list isn’t exhaustive, and there are many more examples where film ideas have flown across man-made borders. These examples are not meant to belittle or demean anyone. They just show that there’s more that joins us than the differences.
Just as Bollywood has remade stories that originated from Lollywood, the opposite is also true, and there’s nothing wrong with that at all. Think of it as siblings who borrow clothes from each other. These stories share a common fabric that’s still binding us together despite the million pulls and tugs trying to make us drift apart. In fact, we can only hope that there are more avenues for collaboration and sharing of ideas and talents.
Some of our greatest memories are when artists from both nations have come together. There’s a different kind of warm and fuzzy feeling that erupts in your stomach when you see an actor from your country who’s getting warmth and love across the border. That’s what films are supposed to do.
Here’s hoping for a day when Imtiaz Ali writes a story about three brothers/best friends (off the top of our heads, Fawad Khan, Ranbir Kapoor, and Farhan (come on, did you think we were going to make a list without Farhan Akhtar in it?) with big brothers SRK, Emaad Irfani and Shaan making cameos along with cross-border father figures doing what father do ) taking a road trip from Lahore to Manali with background music by A.R. Rahman and songs sung by Rahat Fateh Ali Khan, Atif Aslam, Mohit Chauhan and Diljit Dosanjh and lyrics by Irshad Kamil and Gulzar.
Ok, this dream is taking us down a whole rabbit hole of possibilities.
Here’s wishing that rabbit hole exists somewhere in the near future.
