"Don ko pakadna mushkil hi nahi, namumkin hai." Ask two generations who said this dialogue and you'll get two different answers - Amitabh Bachchan & Shah Rukh Khan. The Gen Z will see a third face saying the same dialogue, by Ranveer Singh in the upcoming Don 3.

Shah Rukh Khan's original movie, Don (2006) is a remake of the 1978 movie of the same name, starring Amitabh Bachchan. Farhan Akhtar made a sequel in 2011, 'Don 2' where Shah Rukh Khan and Priyanka Chopra reprised their role. It was well-received than its prequel. But that's a rarity. It's not just that sequels are usually abysmal; the remakes don't have enough life to breathe for part 2.

Bollywood has a history of creating remakes of films, borrowing concepts from regional Indian movies, Hollywood, and movies from other countries. Although some new remakes have successfully changed their basis, adding new cultural details that excite and please viewers, others have been uninspired and did not capture the original's authentic spirit.

Remakes also offer a definite degree of brand recognition, tapping into the nostalgia of audiences reasonably familiar with the original. This is particularly strong in a diverse market like India, where regional movies present many well-known narratives. This connection between Bollywood and remakes is detailed and frequently disputed, and the outcomes have been very irregular, ranging from successes in both reviews and sales to complete failures.

Many times, producers view remakes as less risky investments. A film's initial success suggests the existence of some viewership, implying likely revenue streams. The changing fate of remakes suggests that remakes were once considered "surefire hits." However, this logic does not consistently hold. The recent collection of flops shows this.

Remakes offer the opportunity to change narratives, which helps them suit the cultural sensibilities of a new audience. Changes to the words, setting, and plot parts might be needed to better relate to people in different areas.
This article thoroughly explores the intrinsically detailed area of Bollywood remakes, rigorously examining what decisively makes them do exceptionally well or entirely poorly. It considerately deliberates what this specific pattern means for the business while also extensively breaking down what makes many remakes complete hits or misses.

Bollywood Remakes to Rave About

Many Bollywood remakes have been able to relate with audiences, staying true to the essence of the original piece while adding a special Bollywood touch. A number of the following adaptations are the most successful:

Bhool Bhulaiyaa (2007)

Remake of Manichitrathazhu (1993, Malayalam)

Priyadarshan’s Bhool Bhulaiyaa combines scary psychological elements along with humor, making for a particular type of genre fusion. Although Akshay Kumar is introduced into the story later, his depiction of Dr. Aditya Shrivastav improves the film. The acting of Vidya Balan as Avni/Manjulika is the finest part, offering an outstanding but sad depiction of multiple personality disorder. Although the film modernises a few of the original’s themes, it leans greatly on slapstick humor, occasionally weakening the eerie atmosphere. Pritam’s popular score makes the movie more appealing. Notwithstanding specific pacing issues and several tonal imbalances, Bhool Bhulaiyaa remains a truly well-created psychological thriller, in addition to relating with mass audiences.

Drishyam (2015)

Remake of Drishyam (2013, Malayalam)

Ajay Devgn did an excellent job playing Vijay Salgaonkar, a middle-class man whose family is the most crucial thing in his life. His strikingly realistic acting and the plot, which differ slightly from the original and are packed with unforeseen surprises, kept the audience utterly drawn in until the very end. Drishyam had no extra frills. It was also a hit with viewers so that it could spawn a successful sequel, Drishyam 2, in 2022.

Agneepath (2012)

Remake of Agneepath (1990, Hindi)

Karan Malhotra’s Agneepath (2012) reinterprets the 1990 film by using a more bleak, powerful style and pointing out raw action and sentimental substance. Hrithik Roshan's subtle acting in the role of Vijay Dinanath Chauhan differs from Amitabh Bachchan's initial one, and it substitutes a showy attitude with contained anger. Sanjay Dutt’s scary Kancha Cheena is good, showing a lot of brutality, but not as subtle as Danny Denzongpa’s version. The film's visual elements, wide reach, and the powerful score by Ajay-Atul build on its effect. Nonetheless, the movie's length and overwrought drama occasionally weaken the story's effect. Although it lacks the original’s specific uniqueness, the remake entirely succeeds in delivering a remarkably gripping, truly high-octane revenge saga with large emotional weight.

Don (2006)

Remake of Don (1978, Hindi)

Farhan Akhtar's Don (2006) is a fashionable reworking of the 1978 original, updating the story with many polished action scenes, global settings, and a techno-influenced musical score. Shah Rukh Khan's dual performance as Don and Vijay introduces additional complications. These complications arise because the unexpected conclusion contradicts the initial film's obvious moral lesson. Although the film excels in its visual appeal and high-energy execution, it sacrifices some emotional depth and character development. Priyanka Chopra, Boman Irani, and the rest of the supporting cast offer strong performances. However, some think that the remake values style instead of substance. Don recreates the former norm yet splits watchers due to its bold changes. Many lauded the climax twist wherein it was revealed that Vijay was Don, which spawned a hit 2011 sequel, Don 2.

Ghajini (2008)

Remake of Ghajini (2005, Tamil)

A remake of the Tamil film Ghajini(2005), which was inspired by Hollywood marvel Memento (2000), the Bollywood remake increases action and emotion but simplifies the psychological depth of its predecessors. Aamir Khan delivers a particularly physically intense performance, representing the totality of pain and enough rage of a man with short-term memory loss seeking complete revenge. Asin does well in a role that evokes feelings, and the romance adds to the sentiments. However, the portrayal relies considerably on commercial features, such as excessive fight scenes and melodrama qualities. Ghajini, which stresses common appeal unlike the psychological subtlety of Memento, produces an engaging but somewhat expected vengeance narrative.

Singham (2011)

Remake of Singam (2010, Tamil)

Rohit Shetty’s Singham (2011), a faithful remake of the Tamil film Singam (2010), boldly redefines the action-masala genre with truly high-octane sequences and completely over-the-top heroism. Ajay Devgn’s depiction as Bajirao Singham exudes a certain intensity, shaping him into a believable and quite formidable force against the charismatic villain of Prakash Raj, Jaykant Shikre. The film’s power-packed dialogues and gravity-defying action sequences cater to broad mass appeal. However, these aspects often overshadow subtle storytelling. The love story seems incomplete, and the overdramatic presentation sometimes lessens the effect. Even though it is not incredibly realistic, Singham is a fun, exciting action movie that celebrates ethical law enforcement, raising the bar significantly for Indian police movies.

OMG – Oh My God! (2012)

Based on The Man Who Sued God (2001, English)

Umesh Shukla’s film OMG – Oh My God! (2012), a remake from the Gujarati play Kanji Virudh Kanji and inspired via The Man Who Sued God (2001), delivers a definitive critique against blind religious practices and commercialisation for faith. Paresh Rawal acts very well as Kanji, an atheist and a skeptical person who questions every aspect of organised religion, and the modern version of Krishna, played by Akshay Kumar, has charm and intrigue. Although the movie's didactic style might seem heavy-handed, its satirical humor and thought-provoking dialogue have an effect. Even though it simplifies complex theological debates, OMG successfully balances entertainment and a strong social message, making it a take on faith and rationality that is both engaging and courageous.

Munna Bhai M.B.B.S. (2003)

Loosely based on Patch Adams (1998, English)

Rajkumar Hirani’s Munna Bhai M.B.B.S. (2003) gave Bollywood comedy a new meaning with its sincere story and social lesson. Sanjay Dutt's portrayal of Munna, an endearing ruffian learning to be a doctor to please his father, is amusing and heartwarming. Arshad Warsi’s Circuit adds important comic relief, and Boman Irani’s Dr. Asthana is a remarkably memorable antagonist. The film’s core strength lies in its fusion of comedy and sentiment. Within it, the film challenges rigid institutional norms with empathy. Even if somewhat foreseeable, its comforting narrative and genuinely legendary acting cause Munna Bhai M.B.B.S. to be a specially lasting masterpiece.

Aitraaz (2004)

Loosely based on the Disclosure (1994, English)

Abbas-Mustan’s Aitraaz reverses gender roles in stories about harassment at work. Akshay Kumar acts with control, while Priyanka Chopra excels in playing the scheming Sonia, an unusual female villain represented as deep and convincing. While Kareena Kapoor is necessary, the character could be better. The film gains importance from its fascinating story and intense courtroom drama, even though its ethical viewpoint depends on typical gender roles. On several occasions, the pacing falters, and the climax has a theatrical feeling. Even with this, Aitraaz notably stands out as a daring thriller, dealing with power, consent, and ambition, making it one of Bollywood’s compelling social commentaries.

Baazigar (1993)

Unofficial remake of A Kiss Before Dying (1956, English)

Abbas-Mustan's Baazigar took some inspiration from A Kiss Before Dying (1956). It changed many Bollywood thrillers with its story about a bold anti-hero. Shah Rukh Khan's portrayal of Ajay Sharma, an emotionally complex killer seeking revenge, was revolutionary. This role cemented his stardom. Kajol acts with great heart, and Shilpa Shetty’s first appearance is undoubtedly memorable. The film’s gripping plot, multiple unpredictable twists, and revenge-driven storytelling help set it apart, though the melodramatic romance subplots occasionally slow the pace. The music, especially Yeh Kaali Kaali Aankhen, remains quite iconic. Baazigar capably mixes business success with great mental depth, making it a high point in the thriller part of Hindi movies.

Ram Aur Shyam (1967)

Remake of Ramudu Bheemudu (1964, Telugu)

Ram Aur Shyam stands as a true landmark inside Bollywood’s twin-role genre. Dilip Kumar expertly represents the roles of both the timid Ram and the courageous Shyam, presenting his talent for blending comedy, drama, and action smoothly. The movie's overarching theme with mistaken identity and for justice deeply resonates, remarkably improved by Pran's truly menacing villainy and powerful supporting performances from Waheeda Rehman and Mumtaz. The engaging screenplay helps make it appealing to many. So does the energetic music. Despite being predictable now, Ram Aur Shyam propelled movies like Seeta Aur Geeta (1972), making it an enjoyable viewing experience.

Vikram Vedha (2022)

Remake of Vikram Vedha (2017, Tamil)

Vikram Vedha has an engaging cat-and-mouse plot, even if it does not match the raw intensity of the original film. Saif Ali Khan, playing officer Vikram, and Hrithik Roshan, representing the puzzling criminal Vedha, give convincing performances, with Hrithik bringing a subtle, almost legendary aspect to his character. The film’s action sequences and stylised cinematography significantly improve its appeal; however, the pacing feels a bit uneven, and some emotional depth is lost in the translation. Although it sticks to the original story, the updated movie lacks some of the natural roughness of the first one, making it impressive but not entirely as meaningful.

Hera Pheri (2000)

Remake of Ramji Rao Speaking (1989, Malayalam)

Hera Pheri brilliantly changes from the original’s premise, elevating it with unforgettable performances and ageless comedy. Priyadarshan’s skillful direction artfully blends slapstick humor with situational comedy. This creates a truly iconic film. Akshay Kumar, Suniel Shetty, and Paresh Rawal present outstanding comedic timing, and Rawal’s depiction of Baburao Apte has become iconic. The film’s dialogues and plenty of humor remain quite fresh even today. Hera Pheri, as opposed to many remakes that do not successfully recreate the feel of the original, improves upon it, making it among Bollywood’s best comedic movies, exceeding the cultural influence of the original.

Chachi 420

Remake of Avvai Shanmugi and originally Mrs. Doubtfire (1993, English)

Chachi 420 artfully adjusts the storyline from Mrs. Doubtfire (1993) for Indian audiences. Kamal Haasan directed and starred in the film, which expertly combines comedy and emotional depth while mindfully exploring themes of fatherhood, gender roles, and even social expectations. Haasan’s transformation into the truly lovable Chachi is, with outstanding smoothness, carefully balancing humor with pathos. Amrish Puri, Tabu, and Om Puri give good supporting performances, improving the story. Despite some of the absurd jokes feeling like too much, the film stands out due to its smart dialogue and sincere emotions. Even with few issues, Chachi 420 is still a delightful and culturally relevant source of family fun.

Mrs.

Remake of The Great Indian Kitchen (2021, Malayalam)

Mrs. directed by Arati Kadav, shows Richa, played by Sanya Malhotra, a newly married girl dealing with the harsh customs of a household run by men. Malhotra performs sincerely, which anchors the narrative. It conveys the protagonist's adventure from being under someone's power to taking control. Even though the remake stays utterly faithful to the original themes, specific critics observe that it tempers the exceptionally pointed social commentary, possibly weakening its complete effect. Even so, Mrs. provides a critical look into gender roles in Indian society, making it essential viewing for many modern viewers.

Dhadak

Remake of Sairat (2016, Marathi)

Despite two newcomers, Sairat became a blockbuster hit in Maharashtra and across the nation. With excellent scripting, realism, and spectacular performances, Sairat received a well-deserved reputation. Dhadak was a more colorful remake of Sairat with a filmmaking style that disregarded the idea of realism (like most Bollywood films). The worst part about the movie Dhadak is how it dodged the need to convey the powerful message that Sairat tries to give. The end scene of Sairat had a much more profound impact than Dhadak’s ending. However, the debutants Ishaan Khatter and Janhvi Kapoor's performances were convincing and did a decent job in their debut film.

Wanted (2009)

Remake of Pokiri (2006, Telugu)

Wanted greatly revitalised Salman Khan’s career, establishing him as a dominant action star. The film, directed by Prabhu Deva, has intense action, popular dialogue, and a charming narrative of a police officer undercover. Salman’s macho persona adequately fits with Radhe’s character. However, the emotional depth is somewhat limited. Ayesha Takia's acting seems slightly secondary, and the love story is weak. Prakash Raj does a good job representing the frightening antagonist, which makes it even more suspenseful. For example, the movie's many exciting action scenes and many hit songs, like Jalwa, add to its charm. Even with a predictable storyline, Wanted succeeds as an enjoyable, exciting, and action-filled film.

Mili (2022)

Remake of Helen (2017, Malayalam)

A true story inspired ‘Helen’, and the plots of the two movies are similar. The survival thriller revolves around Janhvi Kapoor, who gives an essentially genuine performance as Mili. Mili is shown as a sweet, straightforward girl who is determined about her future and shares a lovely bond with her father. She represents the character quite naturally and with absolute conviction, particularly in the scenes inside the freezer, where her skin gets severely damaged, bringing definite goosebumps to the audience.
Unsuccessful Bollywood Remakes

Despite the success of some remakes, many have failed to replicate the charm of their originals. Here are some of Bollywood’s most disappointing remakes:

Ram Gopal Varma Ki Aag (2007)

Remake of Sholay (1975)

Ram Gopal Varma Ki Aag is often considered one of Bollywood's worst films. Because of its unnatural acting and uninspired direction, the picture lacks the original movie's feeling, strength, and deep characters. Amitabh Bachchan's daring effort to recreate Gabbar Singh in the form of Babban is a complete failure, while the script is illogical and does not validate remaking the celebrated original. The movie is hard to watch due to its overdone style, weak conversations, and absence of feeling. It shows how cherished work should not be redone.

Laal Singh Chaddha (2022)

Remake of Forrest Gump (1994, English)

Laal Singh Chaddha attempts to make the narrative Indian but struggles since it is not consistently executed successfully. Aamir Khan’s undeniably exaggerated mannerisms constantly feel repetitive and immensely distracting, whereas the film’s sluggish pacing frequently slows down the entire narrative. Even though Kareena Kapoor gives a compelling performance, and the movie does a good job of including different historical events from India, it is missing some of the emotional effect of the original film. Although the movie is full of admiring aspirations, it is less effective because it is long and depends too much on nostalgia. It remains a respectable effort at adaptation. It cannot reproduce the Hollywood classic's complete appeal and simplicity.

Himmatwala (2013)

Remake of Himmatwala (1983, Hindi)

Himmatwala couldn't bring back the masala appeal of previous eras. Sajid Khan's direction relies too heavily on overused tropes, which makes the film come off as more of an unintentional parody instead of a compelling action-drama. Jeetendra brought charm to the original, while Ajay Devgn’s performance lacks a certain amount of the charm. Tamannaah is given a small role to do. The artificial humor, overdone action sequences, and subpar music negatively affect the film. Despite its enormity, the new iteration fails to recapture nostalgia or relate with current audiences, rendering Himmatwala a Bollywood remake many will disregard.

Shehzada (2023)

Remake of Ala Vaikunthapurramuloo (2020, Telugu)

While the original, featuring Allu Arjun, was a massive success, Shehzada did not replicate that magic. Audiences found Kartik's portrayal less compelling, and the film suffered from an outdated approach to storytelling. Kartik even joked about Shehzada in his latest hit film Bhool Bhuliayaa 3 where he said,' Ae bhai, mere samne kuch bhi bol magar yeh Shehzada word mat bol.'

Zanjeer (2013)

Remake of Zanjeer (1973, Hindi)

Zanjeer failed to make a meaningful impression. In his Bollywood debut, Ram Charan fails to equal the relative power of Amitabh Bachchan’s Angry Young Man character. The movie’s script is particularly weak, and the conversations simply do not have the strength of the first one. Priyanka Chopra’s character seems a little shallow, and Sanjay Dutt's portrayal of Sher Khan doesn't affect much. The overuse of showy action scenes does not make up for the missing feelings in the movie, turning Zanjeer into an empty copy that hardly respects its famous original.

Laxmii (2020)

Remake of Kanchana (2011, Tamil)

Laxmii tries to get more people to be aware of transgender people but does not succeed because of poor execution. Akshay Kumar’s exaggerated performance lacks the subtlety required for the role. The film relies greatly on loud comedy accompanied by jump scares instead of authentic horror or emotion. The erratic rhythm in the movie takes attention away from the social commentary, a prominent element from the source material. Because it lacks good storytelling and uses too many visual effects, Laxmii is a remake that is not satisfying and cannot be remembered, failing to do right by what it is based on.

Selfiee (2023)

Remake of Driving Licence (2019, Malayalam)

Selfiee had an interesting premise but failed to deliver the same level of engagement within it. Akshay Kumar and Emraan Hashmi do a good job acting, but the movie suffers from a disappointing script and is missing the fascinating suspense of the first one. The humour feels noticeably forced. Additionally, the emotional conflict between the lead characters is distinctly unconvincing. The film attempts a certain balance of drama with everyday appeal but eventually feels like a mediocre remake with minimal staying power. Despite some fun moments, Selfiee is ultimately unmemorable.

Umrao Jaan (2006)

Remake of Umrao Jaan (1981, Hindi)

The 2006 Umrao Jaan attempts to redo the courtesan's story in a big way but lacks the same emotional effect as the original. Aishwarya Rai is pretty to look at but does not have the same importance in Rekha's role. The movie's unhurried rhythm and apparent excess of fancy visuals make it an exceedingly dull viewing experience. Even though the music is quite melodious, it doesn’t reach that legendary status compared to the original’s soundtrack. Even with its artistic goals, Umrao Jaan is still a bland redo that does not have the first film's poetic sorrow and cultural substance.

Players (2012)

Remake of Italian Job (2003, English)

The movie attempts to bring some Hollywood-esque caper excitement to Bollywood but does not succeed due to poor implementation. Abhishek Bachchan lacks the charm to be the lead actor in an ensemble. Additionally, even though actors such as Neil Nitin Mukesh and Bipasha Basu have potential, their acting suffers due to a weak script. The film’s exciting action sequences and incredible visual effects are subpar compared to nearly all global standards. The planning for the heist is unoriginal, and the movie's pacing is slow. In sharp difference to its notably stylish Hollywood equivalent, Players is a thoroughly unmemorable effort to remake an undeniably iconic action-thriller.

The Killer (2006)

Remake of Collateral (2004, English)

The Killer, a more relaxed reworking of Collateral (2004), doesn't grab the first film's critical, compelling strain and character interactions. Starring Emraan Hashmi and Irrfan Khan, the film is hurt by subpar writing and fails to produce the psychological complexity that made Collateral compelling. The action scenes are unrealistic, and the movie’s attempt at elegant noir is unsuccessful. Despite Irrfan’s praiseworthy acting, The Killer remains an easily forgotten film without the Hollywood version's skillful story and exciting feel.

God Tussi Great Ho (2010)

Remake of Bruce Almighty (2003, English)

God Tussi Great Ho has forced humour and a script that lacks credibility. Salman Khan's and Amitabh Bachchan's presence elevates the film to a degree. Sohail Khan’s comedic track, in addition, feels unnecessary. Priyanka Chopra is sandwiched between two characters with unfunny arcs. The movie’s attempt at shifting the divine intervention theme to an Indian setting is poor, and the visual effects seem old. Unlike the Hollywood version, which was funny and considerate, this new version is shallow and uninspired, making it unoriginal and forgettable.

Khatta Meeta (2010)

Remake of Vellanakalude Nadu (1998, Malayalam)

Khatta Meeta struggles to combine humor and social observations effectively. Akshay Kumar gives a dependably acceptable performance, though the movie’s mocking perspective on dishonesty needs to be more incisive. While the first one had an interesting story that amalgamated funny and serious moments, the Hindi remake relies on silly antics and exaggerated characters. The love story with Trisha seems unneeded, and the rhythm lessens the movie’s effect. Although Khatta Meeta offers a degree of fun, it does not have the substance and authenticity of that on which it is based, which makes it a weaker take on a more biting social commentary.

Cuttputlli (2022)

Remake of Ratsasan (2018, Tamil)

Cuttputlli is less psychologically intense than the Tamil version from which it was adapted. Akshay Kumar is entirely believable as the detective. Still, the movie’s dull script makes the mystery excessively simple and weakens it. The multiple parts of a scary atmosphere and stress that made Ratsasan enjoyable are not there, but they have changed for a more mainstream Bollywood style. Some supporting characters lack sufficient depth, and the pacing has inconsistent moments. Even though Cuttputlli is an okay crime thriller, it does not have the fierce energy and the intense suspense that made the original great. The remake ultimately feels like a toned-down film.

Dil Bole Hadippa (2009)

Remake of She's the Man (2006, English)

The movie attempts to combine cricket with pronounced gender empowerment effectively, but encounters substantial difficulties because its delivery is predictable. Rani Mukerji is sincere in her role, but the film’s screenplay is shallow. The screenplay turns a meaningful theme into a standard Bollywood romance. Shahid Kapoor's character lacked improvement. Also, the jokes are not funny. The film aims to convey a progressive message about women in sports, yet its approach seems superficial. Since the cricket scenes offer little excitement, and the melodrama seems unnatural and detracts from the story's potential, Dil Bole Hadippa fails to impress and is readily forgotten as a remake.

Bang Bang (2014)

Remake of Knight and Day (2010, English)

In Knight and Day, June Havens's meeting with Roy Miller results in many high-intensity action scenes. Even though Bang Bang from Bollywood tried to catch the Hollywood thrill, it was unsuccessful in reaching that same level of excitement. However, Katrina Kaif and Hrithik Roshan’s sizzling chemistry did help soften a particular portion of the letdown. In the end, though, Knight and Day was undoubtedly the most substantial film.

Jazbaa (2015)

Remake of Seven Days (2007, Korean)

Seven Days is a thriller from Korea about a lawyer who has never lost a case. After her daughter is kidnapped, she must fulfill each of the kidnapper's demands. In 2015, Sanjay Gupta remade the movie as Jazbaa, featuring Aishwarya Rai Bachchan and Irfan Khan. The movie is highly green and a chore from start to finish, shot and assembled like a corny music video. Irfan's performance is fabulous, but Rai's poor acting performance is a common complaint.

OK Jaanu (2017)

Remake of OK Kanmani (2015, Tamil)

OK Jaanu does not make as strong an effect as the original, mainly because the original displayed the connection and closeness with greater maturity instead of just some fling. However, the bond between the stars is fantastic in both films. Dulquer and Nitya Menen were even more believable as Adi and Tara, respectively, in this film directed by Mani Ratnam.

Coolie No. 1 (2020)

Remake of Coolie No. 1 (1995, Hindi)

The 2020 remake directed by David Dhawan fails to recapture sufficient charm and comic timing of the original. Varun Dhawan's exaggerated acting is not as naturally funny as Govinda's. Therefore, the humor seems unnatural. Sara Ali Khan is not used to her full potential, and the supporting actors, like Paresh Rawal, cannot make an impression. The old-fashioned physical comedy and wildly exaggerated scenes are clearly out of place in a current context. Unlike the original, which succeeded because of its clever conversations and authentic funny spirit, this new version seems pointless, lacking both sentimental value and new ideas, making it an unremarkable copy.

Radhe (2021)

Remake of The Outlaws (2017, Korean)

Radhe is another addition to Salman Khan’s action-oriented work but lacks inspiration. The movie reuses many known themes from Wanted (2009) but adds no new material. The action-oriented scenes are excessively overdone, Randeep Hooda's character is simply not used well, and the love story involving Disha Patani seems unnatural. The narrative has an absence of strength. It displays several predictable twists and many over-the-top dialogues. Unlike its strong and solemn origin, Radhe is an unoriginal and unexciting action film that relies entirely on Salman’s popularity rather than an engaging plot or fascinating screenplay.

Action Replayy (2010)

Remake of Back to the Future (1985, English)

Action Replayy, a disallowed take on Back to the Future (1985), wastes a decent concept with poor implementation. Even with the movie's bright old-fashioned backdrop, the jokes seem old, and the plot is unclear. Akshay Kumar indeed acts excessively. Aishwarya Rai, however, is not given nearly enough to do. The time-travel portion, a key piece of the initial film, is dealt with poorly, making the movie a run-of-the-mill Bollywood love story. Poor pacing in addition to added comedy further diminish its appeal. The film, instead of catching the charm of Back to the Future, sadly becomes a surprisingly unremarkable and bland remake that in the end does not manage to amuse.

Bharat (2019)

Remake of Ode to My Father (2014, Korean)

The South Korean drama Ode to My Father was a wide-ranging narrative of a man's life intertwined with the history of modern Korea. The film received mixed reviews from critics in its own country but became popular amongst audiences. It pointed out that nationalism and patriotism resulted from a favorable view of the past, which made it appear suitable as an Indian narrative. Salman Khan was the only leading actor in the Indian version. Khan's persona - the loveable superman - is always front as well as centre in a few of his films, so director Ali Abbas Zafar had to cater to it, along with several dance numbers, a couple of love interests, as well as quite a bit of macho bluster. These particularly distracted from the deeply relatable nature of Ode to My Father.

Dhamaka (2021)

Remake of The Terror Live (2013, Korean)

Dhamaka gains from Kartik Aaryan’s strong acting but lacks the fascinating suspense of the original film. The film’s critique of media sensationalism is relevant to a large extent. However, the execution feels dramatic to some degree. Although such a fast-paced narrative keeps viewers engaged, specific emotional beats feel forced, as the screenplay simplifies the psychological complexity of such a Korean version. Although there are successful parts in the updated version, it doesn't keep up any real intensity that this kind of exciting story requires. Dhamaka, despite its aims, remains a decent yet unremarkable interpretation of a superior original work.

Bodyguard (2011)

Remake of Bodyguard (2010, Malayalam)

Bodyguard makes the most of Salman Khan’s superstar image but sadly doesn't deliver when it comes to narrative substance. Even though Khan delivers a delightful portrayal of the loyal and invincible Lovely Singh, Kareena Kapoor’s character, Divya, is not thoroughly developed, and their relationship appears inconsistent. The movie mixes action as well as romance. However, a flimsy script in addition to too much melodrama hurt it. The humor, most notably that provided by Rajat Rawail, comes across as a bit unnatural. However, the movie becomes more charming due to the fame of Teri Meri by Himesh Reshammiya. Despite its apparent shortcomings, Bodyguard achieved commercial success, significantly propelled by Salman’s undeniable star appeal and widely mass-appealing entertainment.

Karzzz (2008)

Remake of Karz (1980, Hindi)

Karzzzz is a wrongheaded new take that does not get the real spirit of the original film’s exciting story of getting even. Himesh Reshammiya's remarkably stiff acting as Monty truly hurts the movie, and the old-fashioned VFX and the uninspired script do not tell the story well. The well-known music, a definite high point of the first one, is redone poorly, and its definite appeal is gone. Urmila Matondkar attempts to add depth as the antagonist. Yet the film remains a tedious as well as forgettable affair. Ultimately, Karzzzz is a mostly pointless reworking with insufficient emotional weight and movie-like charm.

We Are Family (2010)

Remake of Stepmom (1998, English)

We Are Family attempts to make the emotional story Indian but fails since it is too apparent. Kajol gives a sincere performance, but the character represented by Kareena Kapoor does not have equivalent depth to Julia Roberts' character in the original movie. The sincere parts of the film seem too dramatic, and the good music does not improve the story. In contrast to Stepmom, which balanced realism with sentimentality, We Are Family focuses heavily on melodrama, resulting in an artificial feel. It can be viewed, though it offers no new material to the story, rendering it a pointless remake of a film that already made an impact.

Why Some Remakes Succeed and Others Fail

Successful remakes often change the initial subjects to relate with the intended viewers. For instance, *Drishyam* was successful because it mostly stuck to what it was based on but still made some needed changes for culture.

A remake must have actors who can inject the characters with new energy to succeed. Bhool Bhulaiyaa and Singham, for example, had good acting, but Zanjeer, for instance, had bad casting, which hurt the film.

Remakes often do well when they maintain the feeling of the original work while adding new material. Ghajini was a remarkable example of this, but Ram Gopal Varma Ki Aag failed because zero effort was put into it. The Indian film industry should invest more capital into creating revolutionary screenplays and actively support emerging actors. Therefore, when redoing a movie, creators should try to preserve the main story's heart.

Music certainly plays a preeminent role in Bollywood remakes. Kabir Singh performed admirably, partially due to its exceptionally popular songs. On the other hand, Karzzzz did not fare so well, primarily due to its poor music. Likewise, a movie that looked good, like Singham, did better than its Tamil remake as its visuals were better.

Remakes are often criticised for their lack of originality. Copying a good plan but not including original thought usually results in uninspired work. Niren Bhatt, a writer for "Stree 2," mentioned that several remakes after the pandemic have not done well, suggesting that people want original stories.

A good redo needs careful changes to fit the different cultures around it. If people do not understand the small details of the first story, they may misinterpret it and push away readers.

A movie's success often depends on actor performance. It relies on how well the main actors perform. The movie's reception could suffer if the performers cast don't fit their roles, or the updated cast lacks the appeal of the previous one.

Remakes occasionally suffer from inferior production values, including inadequate cinematography, editing, and sound design. This may considerably detract from their enjoyment.

Also, some remakes depend too much on famous main actors, and they forget that a good script and engaging story are essential. The outcome could be films that are visually appealing but shallow.

Occasionally, specific alterations diminish the original movie's appeal. For instance, many did not like Dhadak because it was " bland " compared to Sairat.
OTT, Regional Cinema's Popularity & The Future of Bollywood Remakes

Bollywood's reliance on remakes has been discussed extensively in recent times. While some believe that remakes enable great stories to be viewed by younger generations, others argue that Bollywood should concentrate on original stories.

Recent remakes' consistently poor box office performance (Jersey, Vikram Vedha, Bholaa) indicates that viewers now prefer new material instead of reworked stories. This shift implies that Bollywood moviemakers should develop new ideas instead of relying on what has worked before.

Bollywood's intense interest in South Indian cinema is outstanding. According to MensXP and other places, the "pan-Indian film remake culture" has grown a lot lately. This pattern shows the degree to which South Indian movies are becoming better known and the extent to which they can connect with more viewers.

Because many remakes from South Indian cinema have been lucrative in Bollywood, this has helped the trend continue. Conversely, a few critiques powerfully suggest that Bollywood occasionally weakens the authenticity and cultural details of the source movies when changing them. Many of the worst remakes are from films made in South India. For example, the movie 'Nuvvostanante Nenoddantana' has been remade nine times.

OTT platforms have greatly expanded. Because of this, audiences now have direct access to an impressive array of regional films with subtitles, making them remarkably less inclined to watch their Bollywood remakes. In previous decades, South Indian films were primarily inaccessible to Hindi-speaking audiences, making remakes a relatively fresh experience. However, viewers can now watch the initial versions on streaming platforms and Hindi versions on TV, lessening the novelty of a remake.

For example, Kaithi, the Tamil film remade as Bholaa, was already available on several streaming platforms. Many Bollywood watchers were quite familiar with it even before Bholaa came out, thus making the new version largely unnecessary. Likewise, Ala Vaikunthapurramuloo had a vast viewership before the release of Shehzada, causing the latter to battle for importance.

The time when an essential number of Bollywood remakes were sure to be successful is ending. The absolute failures of films like Deva, Loveyappa, Selfiee, Shehzada, Bholaa, Vikram Vedha, and Laal Singh Chaddha strongly highlight that audiences are no longer interested in recycled content unless it offers something genuinely fresh as well as entirely compelling. With changing audience preferences and the rise of OTT, Bollywood needs to rethink its remake approach. The increasing access to original films also plays a meaningful role in this need for change. The future may rest not in simple imitation but in genuine innovation.

The Takeaway

It's difficult to disagree with the attraction of remakes. The primary reason makers prefer remakes is usually the sense of security that comes with an existing story.

Bollywood remakes have experienced many successes and failures. Although movies like Drishyam and Bhool Bhulaiyaa show that remakes can succeed correctly, failures like Ram Gopal Varma Ki Aag and Himmatwala stress the dangers of changing classic works. Bollywood should honour what it has done well to maintain audience interest. It should also explore new and different ideas as it evolves.

Even though Bollywood has undoubtedly created a few memorable and culturally meaningful movies, its everyday use of material from Hollywood and other global movie industries makes people wonder about the business's original prospects. If Bollywood uses Western storylines excessively, it could forfeit its unique identity and rely disproportionately on external influences.

Some audience members appreciated these adaptations, suggesting that a fusion of inspiration and innovation can still yield success. Nevertheless, it is essential to mention that Bollywood has also been heavily criticised for copying songs and scenes from Hollywood, similar to how Hollywood has been considerably affected by other international films.

Ultimately, the business must balance honouring international movies with growing individuality to continue developing and maintaining its original worldwide position.

The conversation about Bollywood remakes is likely to continue. Although remakes may offer business perks and special chances for cultural interchange, the industry should prioritise originality and inventiveness.