Veteran actor-director Ananth Mahadevan recently voiced concerns regarding the premise of Kiran Rao’s latest film, Laapataa Ladies, produced by Aamir Khan, which he believes closely resembles his 1999 directorial debut, Ghoonghat Ke Pat Khol.
Although Mahadevan emphasized that he cannot confirm if Aamir or Kiran were aware of any similarities, he outlined his perspective on the resemblance between the two films.
Reflecting on the storyline of Ghoonghat Ke Pat Khol, Mahadevan explained that his film centered on two men who mistakenly end up with each other’s brides after a mix-up at a train station. The realization dawns on them only after their brides lift their ghoonghats (veils), leading to a frantic search for their actual spouses.
Mahadevan shared, “My film’s story had two guys who get their wives mixed up at the train station and reach the cities thinking they have come with their own wives. However, when the ghoonghat lifts they get to know that this is not the girl they were married to and the hunt starts for the real spouse. Is it a coincidence that this is the same theme of Laapataa Ladies? Now, nobody will claim they have copied. Even if they have done it, what is the proof?”
When asked if he thought Laapataa Ladies was outrightly plagiarized, Mahadevan acknowledged both similarities and differences. He stated, “Up to a point, it is the same film but after the discovery of the brides they have gone on a different tangent of women liberation. That is the modern way of looking at it. In Ghoonghat Ke Pat Khol, women respected the men for keeping them in their houses with honour, even when the women were not their wives. So, there is a subtle difference. But, there are scenes which are very similar to Ghoonghat Ke Pat Khol. If you think there can be so many similarities without plagiarism, it is great. Great minds think alike.”
Mahadevan feels the thematic divergence occurs after the brides are identified. While Ghoonghat Ke Pat Khol reflects a more traditional narrative, with the women respecting their husbands even amidst the mix-up, Laapataa Ladies seemingly embraces a modern, progressive angle, touching upon women’s liberation and autonomy. Mahadevan noted that although these thematic contrasts are apparent, the setup and initial storyline are undeniably alike.
Despite his concerns, Mahadevan revealed that neither Aamir Khan nor Kiran Rao approached him to discuss or address the matter, and he admitted to feeling overlooked in the industry. “They are too powerful, too big. I am nonexistent for them. They will just say, ‘Who is he, let him talk, who cares? We’ll carry on with our lives and our films.’ I won’t expect anyone to call me as I am too unimportant for them to justify anything,” Mahadevan candidly remarked.
Laapataa Ladies, directed by Kiran Rao, features actors Nitanshi Goel, Pratibha Ranta, and Sparsh Shrivastav in key roles. With the backing of Aamir Khan, Kiran Rao, and Jyoti Deshpande, and produced under Aamir Khan Productions, Kindling Pictures, and Jio Studios, the film has garnered significant attention as India’s official entry for the 2025 Academy Awards in the Best International Feature Film category. This recognition adds another layer to the conversation surrounding Mahadevan’s claims, as Laapataa Ladies is set to represent India on the global cinematic stage.
Mahadevan’s reflections on the potential influence of his earlier work highlight the ongoing conversations about originality, inspiration, and adaptation within the Indian film industry. While Laapataa Ladies has taken a modern route with themes of women’s autonomy, the fundamental premise aligns closely with Mahadevan’s 1999 film, sparking a conversation about creative ownership and homage in storytelling.
