Delhi HC says Ram Gopal Varma deliberately violated Sholay copyright, slaps Rs 10 lakh fine

New Delhi: The Delhi High Court on Monday slapped Rs 10 lakh fine on noted film maker Ram Gopal Varma and his production house for "intentionally and deliberately" coming out with the remake of 1975 blockbuster Sholay, violating the exclusive copyright vested with its director Ramesh Sippy.

Ram Gopal Varma. Agencies

The judgment was delivered on a lawsuit filed by Sascha Sippy, son and grandson of original Sholay's producers Vijay Sippy and GP Sippy, in which he had alleged that the remake film was violative of exclusive copyright held by the Sholay Media and Entertainment Pvt Ltd.
The high court imposed a fine of Rs 10 Lakh as "punitive damages" on Varma, his production house M/S RGV Productions Pvt Ltd as well as Varma Corporation Ltd and Madhu Varma and restrained them from using any character like Gabbar or Gabbar Singh in the original film.
The high court said Varma and others "in the present case have intentionally and deliberately brought the movie in violation of plaintiffs' exclusive moral rights of copyright and passing off."
It held that Varma's film gave an overall impression that it was a remake of Sholay as the characters Gabbar and Gabbar Singh were misused, along with music, lyrics, dialogues and background score of the blockbuster featuring Dharmendra, Amitabh Bacchan, Sanjeev Kumar, Hema Malini and Amjad Khan among others.
"The publicity material coupled with the impugned film, gives an overall impression that it is a remake of the film Sholay.
"The use of similar plot and characters in the impugned film coupled with use of the underlying music, lyrics and background score and even dialogues from the original film Sholay amounts to infringement of copyright in the film Sholay," Justice Manmohan Singh nsaid.

Further, the high court said the makers of 'Ram Gopal Varma Ke Aag' had "distorted and mutilated the original copyright work" of the maker of original Sholay.
"On the relevant date, they were aware about the rights of the plaintiffs, their ownership and authorship as well as use of unauthorized copyright. It is not the case of the said defendants that the same is not created by the plaintiffs and they are not the owners and authors," the order said.
It also held that even if 'Ram Gopal Varma Ke Aag' is considered as an adaptation of the original, it was without authorisation of the copyright owner amounting to "passing off as the plaintiffs are the owner of the names of characters and dialogues".
Such use by Varma and others was unauthorised and it was their deliberate act "in order to gain profits", the judge said, adding that "they are also guilty of infringement under Section 14(a) read with Section 55 of Copyright Act, 1957."
The high court said the producers and director of the remake film "are not able to assign any valid reason for the same and despite of statement made in the court for change of the name of the movie, when the same was released, still it appears that the defendants' movie have similar name of the characters and they have used the lyrics and dialogues in material form in their movie."
"The movie was produced and released without authorisation from the owner and author ie plaintiffs," the high court held.

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Hafiz Saeed wants Kabir Khan's 'Phantom' to be banned in Pakistan, on grounds of 'filthy propoganda'

Lahore: JuD chief and Mumbai attack mastermind Hafiz Saeed has filed a plea in a court in Lahore, seeking ban on the release of Bollywood movie Phantom in Pakistan, alleging that the film, set on post-26/11 attacks and global terrorism, contains "filthy propaganda" against the country.
In the petition filed in the Lahore High Court, Saeed, through his advocate A K Dogar, pleaded that the Saif Ali Khan-starrer film, which is scheduled to release on 28 August, has "venom against Pakistan and Jamaat-ud-Dawa".

Saif Ali Khan and Katrina Kaif on Phantom posters. Image courtesy: Twitter @kabirkhankk

"The film is about the 2008 Mumbai attack and global terrorism implicating the JuD. Filthy propaganda has been done in the film against Pakistan under subject of the world terrorism," he alleged.
The founder of Lashkar-e-Taiba claimed that the courts in Pakistan had already rejected the accusation of the Indian government about involvement of the JuD or any of its leaders in the 2008 Mumbai attacks that killed 166 people.
"I pray to the court to ban the exhibition of Phantom in Pakistan for its anti-Pakistan content," said Saeed on whom the US has placed a bounty of USD 10 million.
Lahore High Court's Justice Shahid Bilal Hassan fixed 10 August as the date for hearing the petition.
Based on crime author Hussain Zaidi's novel "Mumbai Avengers", Phantom is set in the aftermath of the 26/11 Mumbai attacks and deals with global terrorism.
So far the Pakistan censor board has not cleared the film for screening in the country.
Since the government allowed exhibition of Indian films in Pakistan, the Censor Board has been careful about not allowing screening of Indian films which deal with the subject of Pakistan, terrorism and ISI.
In the past, Saif Ali Khan's Agent Vinod and Salman Khan's Ek Tha Tiger were also banned from being screened in cinema halls in the country although they are freely available on CDs and DVDs in Pakistan.

Salman Khan wants to meet Indian girl stranded in Pakistan once she is back

Salman Khan today supported the government's effort to bring back Geeta, stranded in Pakistan for 15 years, and unite her with her rightful parents, just as he did in his runaway hit Bajrangi Bhaijaan.
Geeta, 23, is believed to have mistakenly crossed into Pakistani territory as a child. She was 7-8 years old when she was found by the Pakistan Rangers 15 years ago from Lahore railway station, according to reports from Pakistan.

Salman Khan from Bajrangi Bhaijaan. Image from IBN live.

She has got a fresh lease of hope after the success of Bajrangi Bhaijaan, where Salman plays an Indian guy who helps a little girl reach her home in Pakistan.
When asked whether he had tried to help Geeta, Salman said he would have got involved but the government is already looking into the matter.
"... Government is looking into it. And they are competent and should take this forward. If she agrees and they find her rightful parents, this should definitely be done."
He, however, said that once Geeta is back in India and wants to meet him, "I would definitely meet her". Talking to reporters on the success of his cross-border drama, which earned Rs 300 crore at the box-office, Salman said he was happy that Geeta was being looked after well in Pakistan.
"I am not very clear. I am aware of some history. Like 15 years ago, she reached Pakistan in a train. Before this, her parents did not try to claim her? No FIRs were filed? I think some NGO from Pakistan is involved. We should leave it to the girl and thank the NGO of Pakistan and the foster parents, who supported her all these years and gave her a good life," he said.
External Affairs Minister Sushma Swaraj recently said that the government will bring back Geeta. Four families from different parts of the country have claimed Geeta to be their child.
When journalists asked him about his recent controversial tweets on Yakub Memon, Salman sidestepped the question saying
"there would be a better time to talk about it", adding he would love to speak on the issue but right now he wanted to focus on Bajrangi Bhaijaan.

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Why the love scene between Tamannah and Prabhas in Baahubali is not 'Rape'

There's a scene in SS Rajamouli's Baahubali that didn’t seem particularly thought-provoking at first glance, but has generated a lot of conversation of late. Shiva (Prabhas) chances upon a mask and gazing at its features, he imagines the mask fits the face of a beautiful woman. The vision is compelling enough for him to make an arduous journey up a waterfall and a mountain. When he finally finds his dream girl in flesh and blood, she's a much plainer version. Reality bites, even in the world of epic fantasies.
Let's look at Avanthika's (Tamannaah Bhatia) version of these events. Part of a guerrilla outfit, Avantika spends her days fighting, spying and (supposedly) ignoring details like her wardrobe and hairstyle. When Avanthika first encounters Shiva, she becomes aware that she isn’t just a warrior, but a woman who finds an equal and opposite side to her self – one that can’t help but be struck by the prettiness of the tattoo that Shiva painted on her hand while she was asleep. Does he tattoo her to mark her as his own? Perhaps. Is it his attempt at beautifying (and therefore, feminizing) her with sringaar? Absolutely.

Prabhas and Tamannaah in Baahubali.

Avanthika’s reaction – despite the prettiness of the tattoo – is anger. Her world and her sense of self are being unsettled, and she resists the change. But resistance doesn’t mean she wipes off the painted design. Neither is she outraged enough by her lurking makeover-inclined admirer to cut Shiva down to size when she finally meets him. Not just that, she lets him strip her and apply eco-friendly make-up, which includes everything from crushed berries to a dash of Shiva’s own blood. No pain, no gain, to quote an old adage.
While Shiva is wreaking this transformation upon Avanthika, her reactions are limited to parted lips and widened eyes that suggest she’s furious. It’s this expression that’s led to a debate about precisely what’s going on in this scene. Is this courtship ritual a disguised rape scene?
A couple of weeks ago, titled 'The Rape of Avanthika', went viral. The writer anna Vetticad and those subsequently discussing the article pointed out there is no consent from Avanthika and therefore, she was raped by Shiva. And there we were, lapping it up as romance.
The idea of “rape-y” lovers isn’t new to popular Indian cinema, both in Bollywood and its southern counterparts. But does this scene from Baahubali deserve the rape tag? Is Avanthika served by this interpretation or reduced by it? Because lest we forget, she is no damsel in distress.

Box office report card: Baahubali has collected Rs 500 crore in 3 weeks

SS Rajamouli's blockbuster multi-lingual film Baahubali has reportedly collected Rs 500 crore in the three weeks since its release on July 10, according to sources in the film unit.
Baahubali which features Prabhas and Rana Daggubati, released across 4,000 screens worldwide, in Telugu, Tamil, Hindi and Malayalam languages.

A battle scene from Baahubali

The movie also features Ramya Krishna, Anushka Shetty and Tamannaah in the lead roles, and is touted as one of the most expensive films made in the country with a reported budget of approximately Rs 200 crore.
The film has been appreciated for its visual and other special effects. It is a period action drama that took nearly three years to complete. However, the film left the narrative incomplete as a second part is expected to release next year.
Presented by filmmaker Karan Johar in Hindi, the movie has been appreciated by veteran actors including Amitabh Bachchan.
Shah Rukh Khan recently praised the hard work that the team had put in the making of the movie.
Baahubali generated unprecedented interest among the audience and managed to sustain for three weeks since its release.

Drishyam review: A decent copy, but Ajay Devgn will make you long for Kamal Haasan

Ever had piping hot, homemade idli-sambar, the latter flavoured with aromatic spices made on a heavy grinding stone, and served on a banana leaf? Are you one of those who, inspired by that meal, tried your hand at making a simple dosa at home? If you’re persistent, you may eventually get a nice, round, crisp dosa. Your sambar may also be a satisfactory. But will it be like that honest-to-Amma meal? Not really.
That mixed feeling you get when you make an acceptable dosa and remember a fluffy, perfect idli is exactly what you’re left with after watching Nishikant Kamat’s Drishyam. Drishyam is the Hindi remake of a Malayalam blockbuster by the same name, masterminded by writer and director, Jeethu Joseph. That film was recently made in Tamil, as the gripping Papanasam.
In Hindi, Drishyam is about a Marathi family, set in Goa and faithful to every scene from the original, including several shots and frames. Kamat pares down an otherwise lengthy first half, which may not have been a good move. In the original, this length was particularly vital to establishing the central relationships between the lead and his family. Without that build-up, those relationships are weak as are the performances.
Comparisons aside, Drishyam has a terrific, killer plot (even if it is 'inspired'). Vijay Salgaonkar (Ajay Devgn) is a “4th class fail ”, a movie buff and a self-made man who runs a cable business in a Goan village. He loves watching movies so much that he stays in his office all night, devouring every scene in the films that his cable channels telecast. Then, in the morning, when most people are going to work, Vijay comes home to his wife, Nandini (Shriya Saran, who tries to look older by wearing saris and instead only highlights how fresh-faced she is). The only nights that Vijay comes home to Nandini are the ones on which there’s a Sunny Leone film playing on TV.

Ajay Devgn in Drishyam.

However, lest we think Vijay is a grouch who cares nothing for his family, we see him indulging his wife and two daughters, the teenaged Anju (Ishita Dutta) and the little pudding named Anu ( Mrinal Jhadav). These three rule his heart and his modest wallet and all in all, it seems Vijay’s life is well sorted.
The only fly in the cup of chai that Vijay enjoys at a little local eatery is the corrupt and unpleasant Inspector Gaitonde (Kamlesh Sawant). As Drishyam sleepwalks its way towards the interval, Gaitonde – played brilliantly by Sawant – doesn’t seem to be much more than a prickle.
But Vijay and his family’s idyllic life grinds to a crashing halt when Anju goes on a school trip and returns with a blackmailer in tow. Things quickly take a dramatic turn for the worse and Vijay realizes that to protect his family, he’s going to have to go up against a formidable foe: Inspector General Meera Deshmukh (Tabu).
Tabu is the much needed filter coffee (or kaapi) in Drishyam. She is the terrifying IG, faithful to the police force, whom no one dare cross. She doesn’t shy away from ordering extreme measures and her performance matches the fiery and magnificent Asha Sarath in the Malayalam and Tamil versions. Whether she’s ordering a policeman to beat the crap out of a suspect or weeping at the loss of her son, Tabu is magnificent.
Of late, Tabu’s filmography could be called Variations Upon the Theme of Mother. If her Ghazala in Haider had shades of an Oedipus complex, her Meera can stoop to the ultimate cruelty for her son. This isn’t the Bollywood mother that Nirupa Roy made famous. Watch out for her final and only silent scene — her face becomes a map of desperate emotions, while her husband does the talking.
Opposite her, Devgn underplays his usual-suspect-cum victim role, but to such an extent that he underwhelms.The same is true of the adequate but unmemorable daughters, and Saran as the south Indian version of a Stepford wife. The two women are critical to the film and their performances thoroughly weaken it.
It’s in the second half that Drishyam becomes the mystery and investigation that was promised in its trailers. Meera is certain Vijay knows something about her missing son. Vijay and his family, however, have watertight alibis. The last scene may be one of the best climaxes seen in an Indian thriller.

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