Barfi lands in trouble waters with allegations of plagiarism

At a time when film makers across the globe are trying to go beyond cramped quarters of reality to try new experiments with meta- narratives, we are still contented with worst Ramsay Brothers offerings and copy-pasting of hit Hollywood flicks. We thump our reel  ventures to be maturing fast and thick and now  even Academy Awards don’t seem mirage with slum movies! But even after all this, we practice film making like treating stolen cars! Just changing the body outside and keeping the core intact has turned out to be the mantra. Be it the Bhatts or the YRF, the same ‘dirty picture’ prevails all throughout.

Latest controversy that is catching limelight these days is about recent blockbuster Barfi’s plot. After Gangster and Murder, Anurag Basu mesmerised the viewers with Barfi with his so called unique script. Barfi was like a breath of fresh air for Indian film making and was seen by critics as breakthrough of a new era of film making in Bollywood.


But all these have turned into a really big fuss! Anurag’s credibility and creativity as an experimental director have come under scanner with numerous film blogs and magazines alleging the story of Barfi to be a facsimile of some of the all time hit Hollywood classics. The moments are alleged to be stolen from or influenced by films like  Buster Keaton’s Cops (1922), Black Cat, White Cat (1988), Mr Bean’s Holiday, The Notebook (2004), Mr Nobody (2009), Korean film Oasis (2002), Jackie Chan’s Project A (1983), Chaplin’s City Lights (1931), The Goonies (1985); Kikujiro, Benny & Joon (1993) and Fried Green Tomatoes (1991).

Yes! Mr Basu has to answer the movie buffs now. If he had the plans of adapting themes and scenes he could have credited the titles and directors. Adapting is not a crime but offering so called homage to world cinema that too by spoofing their elements is just like making oneself fool with old wine in a new bottle! Everyone knows the taste!

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