After makers of Helen’s classic get upset over Mungda remix, Total dhamaal director Indra Kumar says song was recreated to ‘pass on the gem to next generation’
Sonil Dedhia (MID-DAY; February 8, 2019)

Bollywood continues to take the easy way out to ensure a chartbuster — rewind, rehash and repeat. In the latest example of recreating old ditties, the makers of Total Dhamaal revisited Helen’s classic, Mungda. Singer Usha Mangeshkar and composer Rajesh Roshan — who had created the number for Inkaar (1977) — were quick to outrage over the track that features Sonakshi Sinha and Ajay devgn. According to reports, the composer alleged that today’s filmmakers “have lost the confidence to create new songs”.

Total Dhamaal director Indra Kumar doesn’t challenge Roshan’s allegation. “Lack of originality and talent in music is an understatement,” he says, but goes on to add that the idea of revisiting the song was to introduce it to a younger audience. “The original song was made over 40 years ago. Today’s generation isn’t aware of it. My kids hadn’t heard the original till I made them listen to the new version, and they loved it. I admit we aren’t half as good as them, but we didn’t set out to achieve their level of brilliance. This is our way of paying homage. We don’t have the capacity or intention to compete with them.”

The director insists that he has simply jumped on the bandwagon of rehashing forgotten gems. “There is no harm in following trends. I may have fallen short, but I didn’t intend to hurt them at any point. This generation has been deprived of those beautiful songs. Our job is to pass on the gems to them.”

Lata Mangeshkar has often expressed her reservation about how makers do not take their approval before repackaging their classics. Ask Kumar if he had reached out to Roshan and Usha Mangeshkar, and the director brings out the ugly truth of the music industry. “We don’t have to take their consent. when Neend Churayi Meri was remade [for Golmaal Again; the original belonged to Kumar’s Ishq], no one came to me for approval. The rights belong to the music label, and they [owners of the label] have the right to do what they want to.”

Subhash K Jha (DNA; November 26, 2013)

A woman accuses her boss of sexual harassment at her posh work-place. All hell breaks loose... Sounds familiar? That was the theme of Sudhir Mishra’s Inkaar released at the beginning of this year where ‘boss’ Arjun Rampal stands accused by protégée-employee Chitrangda.

The film seems to eerily pre-empt the current Tarun Tejpal incident. The producers of Inkaar, Viacom18 Motion Pictures are considering re-releasing their film. Says director Sudhir Mishra, “They should release it again. I’d be glad if they do. Arjun Rampal’s character is almost like a replica of Tarun Tejpal. Except that Arjun’s atonement after he admits to the crime of sexual harassment is not a six-month sabbatical. Arjun leaves everything, his career ambitions wealth and power, behind for good.”

The issue of sexual harassment shown in the film raised many hackles when it was released. Recalls Sudhir, “I had many executives from ad agencies telling me they don’t behave ‘that’ way. But it’s about time we stopped looking at specific work-places as exempted from that feudal mentality which has come from the villages into the cities. Women are susceptible to unwanted male attention everywhere. And God help the working woman if she is ambitious.”

Uncannily, the alleged victim of sexual harassment in Inkaar had her complaint looked into by a committee. Says Sudhir, “If you look at the situation today regarding Tarun Tejpal it is very similar to my film.Whether it is the world of advertisement or journalism, men need to confront their demons. Why are ambitious women regarded as convenient targets for harassment? Why should a woman’s ambitions be held against her?”

Sudhir feels his film’s complexities regarding gender equations was mis-read. “Inkaar was deliberately misunderstood by many critics who felt uncomfortable asking themselves questions about gender discrimination in their work place. In the end when Arjun confesses his love to Chitrangda she doesn’t forgive him. She simply walks away without saying anything. I believe when a woman is violated emotionally or physically it is no different from the feudal mentality in the villages. We may think we are more sophisticated in our attitude to women in the cities. But the truth is, we are as feudal in the cities as in the villages.”