In the intricate tapestry of cinematic storytelling, the boundaries between inspiration and imitation often blur, leading to complex debates about originality and intellectual property. A recent controversy encapsulating these issues involves Kiran Rao’s film Laapataa Ladies, which has been accused of bearing striking resemblances to two prior works: Ananth Mahadevan’s 1999 telefilm Ghunghat Ke Pat Khol and Fabrice Bracq’s 2019 short film Burqa City. This article delves into the multifaceted dimensions of this plagiarism row, examining the claims, counterclaims, and the broader implications for the film industry.
Laapataa Ladies Plagiarism Row: A Synopsis of the Film
Laapataa Ladies (2024) is a Hindi-language comedy-drama film that unfolds in a rural part of India. The story centers on a comically tragic mistake—two newlywed brides, traveling on the same train with their faces veiled in traditional Indian bridal attire, are accidentally swapped. The confusion sets off a chain of events that explores themes like gender, identity, empowerment, and tradition.
Key Plot Points:
- The story follows one of the brides, Phool Kumari, who ends up with the wrong husband’s family and slowly discovers a sense of self and independence.
- Simultaneously, the other bride’s disappearance prompts a comedic yet emotional search led by a well-meaning but bumbling police officer.
- As the mystery unfolds, the film critiques patriarchal customs, arranged marriages, and society’s control over women’s identities.
Critics lauded Laapataa Ladies for its gentle humor, strong characters, and sensitive portrayal of social issues without becoming overtly preachy. It quickly became a favorite among urban and rural audiences alike, resonating with viewers who appreciated its message about women reclaiming agency.
But as the accolades poured in, so did the comparisons—particularly with two earlier works that seemed to share a startlingly similar premise.
Laapataa Ladies Plagiarism Row: The First Accusation – Ghunghat Ke Pat Khol (1999)
Veteran filmmaker and actor Ananth Mahadevan came forward shortly after Laapataa Ladies began gaining popularity, stating that the film bears strong similarities to his 1999 telefilm Ghunghat Ke Pat Khol, which aired on India’s national broadcaster, Doordarshan.
About the Film:
Ghunghat Ke Pat Khol was part of a government-backed initiative to promote socially relevant cinema. While it lacked the budget and star power of a mainstream release, the film tackled an eerily similar narrative: two veiled brides are mixed up during wedding ceremonies, leading to complications and revelations in both households.
Mahadevan’s Allegations:
- He stated in an interview that the core idea of brides getting swapped due to traditional veiling was “identical” to his film.
- He expressed disappointment, saying, “It’s not about taking legal action. It’s about giving credit where it’s due.”
- Mahadevan also noted that such forgotten films are often unfairly overshadowed by newer, high-budget productions.
His comments sparked debates online, with cinephiles digging up clips of Ghunghat Ke Pat Khol and comparing them to Laapataa Ladies. While no legal proceedings have been initiated, the matter has raised uncomfortable questions about how mainstream Bollywood sometimes borrows liberally from lesser-known content without acknowledgment.
Laapataa Ladies Plagiarism Row: The Second Comparison – Burqa City (2019)
Laapataa Ladies Plagiarism Row: The Second Comparison – Burqa City (2019)Around the same time, internet users and film critics began pointing out that the central premise of Laapataa Ladies also resembled a French short film titled Burqa City by director Fabrice Bracq.
Plot of Burqa City:
The 20-minute short film, set in a fictional Islamic society, tells the story of a man who realizes he has accidentally married the wrong woman because all women wear burqas that conceal their faces. What begins as a farce becomes a biting satire on societal norms, gender roles, and forced conformity.
Though the context is very different—urban Islamic society vs. rural Indian village—the narrative crux of mistaken identity due to veiling is undeniably similar.
Online Reaction:
- Film buffs quickly compiled side-by-side comparisons of plot points and scenes.
- YouTube channels and bloggers picked up on the controversy, with some labeling Laapataa Ladies a “desi remake” of Burqa City.
- A few international outlets covering South Asian cinema also reported the controversy, though Bracq himself has not made a public statement on the matter.
The similarities, critics argue, cannot be brushed aside as mere coincidence—particularly when multiple works, both Indian and international, appear to have laid narrative groundwork years earlier.
The Response from Kiran Rao and Aamir Khan Productions
As the whispers of plagiarism began evolving into public discourse, industry watchers turned their attention to Kiran Rao and her team. How would the makers of Laapataa Ladies respond to these growing allegations?
Surprisingly, the response was measured and indirect. No formal press conference or detailed rebuttal was issued. However, during promotional interviews and post-release media interactions, both Kiran Rao and the production team emphasized the film’s originality and the source of its story.
Origin of the Story
- According to Rao, the idea for Laapataa Ladies came from a script submitted by Biplab Goswami as part of a writing contest hosted by Aamir Khan Productions.
- The story was reportedly selected out of hundreds for its fresh take on rural life and its feminist perspective.
- The screenplay was later developed with the help of writers Sneha Desai and Divyanidhi Sharma, with adjustments to suit a feature-length format.
In various interviews, Kiran Rao stated:
“The story is set in a very specific cultural and geographic space, and it’s not just about the veil. It’s about what happens after the mix-up—how these women find their voice. That’s what sets it apart.”
This approach—acknowledging thematic similarities without directly referencing Ghunghat Ke Pat Khol or Burqa City—left many critics and cinephiles unsatisfied.
Why the Silence?
- Industry insiders speculate that the silence could be strategic. Acknowledging too much might validate plagiarism claims or even open the door to litigation.
- Others suggest that the team didn’t feel the need to respond unless formal legal complaints were filed.
Still, the omission of any citation or homage to earlier works has left a bitter taste for some, especially given the film’s critical success and the platform it enjoyed via Aamir Khan’s star power.
Legal Lens – What Constitutes Plagiarism in Cinema?
Before we go further into the moral dimensions of this debate, it’s important to understand how plagiarism is defined and contested in legal terms—especially in India, where the law around artistic ownership can be ambiguous and under-enforced.
Idea vs. Expression
The Indian Copyright Act, 1957 (amended in 2012), makes a clear distinction between ideas and their expression:
- Ideas are not protected under copyright. Anyone can use the same idea to create a work—as long as it is expressed differently.
- Expression, on the other hand, is protected. This includes specific characters, dialogues, sequences, and the overall structure or “treatment” of the idea.
This means that the concept of two veiled brides getting swapped can be reused by multiple creators—as long as the screenplay, dialogue, characterization, and visual storytelling are original.
What’s Needed to Prove Legal Plagiarism?
To win a plagiarism case, the claimant must prove:
- Substantial similarity in how the story is executed (not just the idea).
- Access: that the creator had reasonable access to the original work.
- Direct copying or clear derivation from protected elements of the original.
In the case of Laapataa Ladies, this would be a difficult legal hurdle:
- Ghunghat Ke Pat Khol aired in 1999 on Doordarshan, a public broadcaster, so technically it was accessible, but is largely obscure now.
- Burqa City is available online, which again means it’s publicly accessible. However, proving that the creators of Laapataa Ladies actually saw it is tricky.
- Most importantly, unless major script elements (scenes, character arcs, dialogues) are proven to be lifted, a lawsuit might not hold.
As of now, no one has filed a legal notice or copyright claim against the makers of Laapataa Ladies, suggesting that either the similarities are not strong enough to be litigated—or that the original creators are wary of a protracted and expensive legal battle.
Ethics Over Legality – The Moral Responsibility of Filmmakers
Even if a film isn’t legally plagiarized, the conversation around ethical storytelling is worth having. Increasingly, audiences, artists, and critics are calling out uncredited “inspirations” and derivative works—not because they’re illegal, but because they disrespect the creative labor of lesser-known artists.
“Inspired by True Events”—Or Someone Else’s Film?
Bollywood has a long history of taking “inspiration” from other sources:
- Numerous Bollywood thrillers and comedies from the 90s and early 2000s were unofficial remakes of Hollywood films.
- Even Oscar-nominated Lagaan was loosely compared to the 1957 film Naya Daur by some film historians.
While Indian audiences once accepted such remakes as the norm, the age of streaming and global access has changed the game. Viewers now recognize international plots, story devices, and themes instantly.
In such a context, making a film like Laapataa Ladies—which has such strong thematic overlap with previous works—without crediting earlier creators comes off as ethically tone-deaf, even if it’s legally safe.
Why Acknowledgment Matters
- It creates a culture of respect and transparency in the industry.
- It uplifts marginalized voices—especially filmmakers who never had big-budget opportunities.
- It helps audiences understand the lineage of ideas and how stories evolve.
Giving credit where it’s due should not be seen as an admission of guilt but as a gesture of integrity. Even a simple acknowledgment in the end credits or in interviews can go a long way in setting a precedent.
The Genesis of Laapataa Ladies
Laapataa Ladies, directed by Kiran Rao and produced by Aamir Khan, has garnered attention for its narrative centered around the mix-up of two brides in rural India. The screenplay, penned by Biplab Goswami, an alumnus of the Satyajit Ray Film and Television Institute (SRFTI), was reportedly conceptualized as early as 2014. Goswami asserts that he registered a detailed synopsis of the story, initially titled Two Brides, with the Screenwriters Association on July 3, 2014. This registration predates the creation of both Burqa City and the public release of Ghunghat Ke Pat Khol.
Ananth Mahadevan’s Allegations
Ananth Mahadevan, a seasoned filmmaker and actor, has publicly claimed that Laapataa Ladies mirrors the plot of his 1999 telefilm Ghunghat Ke Pat Khol. In interviews, Mahadevan detailed the similarities, noting that his film revolves around a city boy who travels to his village for an arranged marriage. A mix-up at the railway station leads to the exchange of brides, as both are veiled, setting off a series of events where the couples eventually realign with their rightful partners. Mahadevan highlighted specific scenes, such as the confusion arising from the veiled brides and the subsequent comedic and emotional fallout, which he believes are echoed in Laapataa Ladies.
He expressed skepticism about the coincidence, stating, “It can’t be a coincidence… brides getting mixed up at a railway station cannot be a coincidence.” Despite his assertions, Mahadevan acknowledged the difficulty in proving direct plagiarism and noted that neither Kiran Rao nor Aamir Khan had reached out to him regarding the matter.
Biplab Goswami’s Defense
In response to Mahadevan’s claims, Biplab Goswami has firmly defended the originality of his script. He emphasized that his story, characters, dialogues, and scenes are entirely original and not inspired by any existing work. Goswami also mentioned that he had not viewed Mahadevan’s film prior to writing his script. Furthermore, he highlighted that his script was recognized as the first runner-up in Cinestaan India’s Storytellers Contest in 2018, underscoring its originality and merit.
The Burqa City Connection
Adding another layer to the controversy, parallels have been drawn between Laapataa Ladies and Fabrice Bracq’s 2019 short film Burqa City. Burqa City portrays a dystopian society where individuals are forced into arranged marriages, leading to a mix-up of brides due to their indistinguishable appearances under burqas. Critics and audiences have noted thematic and situational similarities between the two films, particularly concerning the central plot device of exchanged brides leading to unintended consequences.
However, Goswami’s prior registration of his script in 2014 serves as a counterpoint to allegations of borrowing from Burqa City. This timeline suggests that any resemblance is coincidental or perhaps indicative of a recurring narrative trope rather than direct influence.
Broader Implications and Industry Perspectives
The Laapataa Ladies plagiarism row underscores the challenges inherent in safeguarding intellectual property within the creative industries. The recurrence of similar themes and narratives across different cultures and time periods raises questions about the nature of originality and the fine line between inspiration and imitation.
Industry experts suggest that while certain story archetypes are universal, the unique treatment, cultural context, and character development are what distinguish one work from another. In cases where similarities arise, the onus is on creators to demonstrate the distinctiveness of their work and, when necessary, acknowledge influences transparently.
The controversy surrounding Laapataa Ladies serves as a case study in the complexities of authorship and originality in filmmaking. While Ananth Mahadevan’s concerns highlight the need for vigilance against potential plagiarism, Biplab Goswami’s documented timeline offers a robust defense of his creative process. As the industry continues to evolve, fostering an environment that respects intellectual property while encouraging creative exploration remains paramount.
According to Ananth Mahadevan’s IMDb profile, the 1999 telefilm Ghunghat Ke Pat Khol was part of a socially-driven Doordarshan series, aimed at exploring women’s issues in rural India.
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