#Rajshri Songs

[bollywoodirect]

Birthday greetings to the living music legend of the Hindi film industry, Sri #Pyarelal Ramprasad Sharma (03/09).

The iconic music director duo #LaxmikantPyarelal is synonymous with Hindi film music, particularly its popular hits. Born on September 3, 1940, Pyarelal Ramprasad Sharma is the son of the renowned trumpeter, Pandit Ramprasad Sharma, also known as Babaji. Under his father's guidance, Pyarelal started learning the violin at just 8 years old, dedicating 8 to 12 hours daily to practice. He further refined his violin skills under Goan musician Anthony Gonsalves. The song "My Name Is Anthony Gonsalves" from the film Amar Akbar Anthony is a tribute to Gonsalves, featuring music by the Laxmikant–Pyarelal duo.

At 12, Pyarelal began playing the violin in various studios, including Ranjit Studios, to support his family financially. His brother, Gorakh Sharma, also contributed by playing guitar for songs composed by Laxmikant-Pyarelal.

The duo first gained widespread recognition with their music for the 1964 film Dosti, produced by Rajshri Productions. Despite relatively unknown lead actors, the film's memorable songs like "Chahoonga Main Tujhe Shaam Savere" and "Rahi Manwa" made it a hit. Many initially thought Laxmikant–Pyarelal was a single person. They won their first Filmfare Award for Best Music Director for Dosti, beating industry giants like Shankar–Jaikishan and Madan Mohan. Their subsequent work in films like Lootera, which featured famous Lata Mangeshkar songs, also gained fame.

By 1966, Laxmikant–Pyarelal had firmly established themselves in Bollywood. They continued to earn acclaim for their music in films like Aaye Din Bahar Ke and Pyar Kiye Jaa. In 1967, they had a series of hits, including the Golden Jubilee musical hit Farz, and other big-star films like Anita and Shagird. They won their second Filmfare Award for the film Milan.

Laxmikant–Pyarelal, along with contemporaries like Rahul Dev Burman and Kalyanji-Anandji, represented a new era in Bollywood music, overshadowing earlier composers. They were frequently chosen by major film producers and consistently delivered exceptional music.

Their significant collaboration with lyricist Anand Bakshi led to some of Bollywood’s most iconic songs, appearing in over 250 films. Anand Bakshi wrote the lyrics for all the films that earned Laxmikant–Pyarelal Filmfare Awards, except for their first. #RajeshKhanna also had a long-standing professional relationship with the duo, choosing them as the music directors for 26 of his films.

Another fruitful partnership was with singer Asha Bhonsle, who voiced numerous hits composed by Laxmikant–Pyarelal, including chart-toppers like "Dhal Gaya Din" and "Hungama Ho Gaya." The latter song was re-recorded for the 2014 film Queen and became a massive hit again. Between 1980 and 1986, Asha Bhonsle was often the lead vocalist for their compositions. Laxmikant–Pyarelal also scored music for the Telugu film Majnu in 1987, which was well-received for its musical numbers.

[parveenbabimemories1]

Directed By ramesh sippy

Written by Javad Akhtar, Salim Khan

Cast Sunil Dutt, Amitabh Bachachan, Parveen Babi, shashi kapoor, Shatrughan Sinha, rakhee gulzar, Bindiya Goswami, helen, bindu, johnny walker, mac mohan,

Sudhir Pandey, Kulbhushan Kharbanda,

Sharat Saxena,

Produced by G.P Sippy, Suresh Sippy

Music By Rahul Dev Burman

(as R.D. Burman)

Cinematography by

S.M anwer

EDITING BY

M.S Shinde

Second Unit Director or Assistant

D.R. Thakkar

Stunts

Mohammed Ali

stunt arranger (as Mohd. Ali)

Gerry Crampton

stunt arranger

Music Department

Anand Bakshi, Asha Bhonsle, RD Burman, Kishore Kumar, usha Mangeshkar, mohammed rafi, usha uthup

P.L. Raj

choreographer

12 December 1980

Production

company

Sippy Films

Distributed by

Eros International

Rajshri Productions

Did you know

Yamma Yamma..R.D. Burman was not satisfied with Mohammed Rafi's singing in this song and was planning to re-record it. However, that never happened because Rafi passed away soon after the original recording. It was the only song which R.D. Burman and Rafi sang together.

The January 1980 edition of Stardust magazine stated that when Parveen Babi went to Europe with Kabir Bedi, there was no hope of her returning back to India. The only other actress who had a westernized image who could replace Parveen Babi was Simi Garewal. Ramesh Sippy verbally spoke to Simi Garewal and told her the role was hers. But Parveen Babi returned back to work and Simi was bumped out of the film.

Parveen Babi suffered her first nervous breakdown on the sets of Shaan. When she completed to shoot of the song Pyar Karnewale she got the attack. After this song there is a scene Parveen Babi is in the car, she stops the car, then Amitabh Bachchan sits in the car, this scene was shot when Parveen Babi came back from U.S.and she resumed work by shooting this scene.

[musicverse11]

Altamash Faridi’s Top Bollywood Hits You Can’t Miss

Altamash Faridi name resonates deeply within the hearts of Bollywood music lovers. With a voice that seamlessly blends emotion and power, his journey from a small town in Uttar Pradesh to the glitzy world of Bollywood stands as a testament to his determination and talent. His rise is an inspiring story of perseverance, family influence, and an unwavering passion for music. In this article, we explore how Altamash carved his niche in Bollywood, leaving a lasting impact on the music industry.

Early Life and Musical Roots

Born in Saharanpur, Uttar Pradesh, Altamash Faridi grew up in a family where music was more than just a passion — it was a way of life. His father, Ustad Mehtab Faridi, is a renowned classical singer who instilled in his children a love for music and its traditions. Altamash’s brothers, Shadab and Asif Faridi, are also musicians, making their home a hub of melodies and rhythms.

From an early age, Altamash was surrounded by the nuances of classical music. His upbringing was steeped in rigorous musical training, which not only honed his skills but also cultivated his deep understanding of various musical styles. Despite the challenges of growing up in a small town with limited exposure to mainstream platforms, Altamash’s dedication set him apart. He participated in local singing competitions, where his performances consistently garnered praise, giving him the confidence to pursue a professional career in music.

Breakthrough in Reality TV

The turning point in Altamash Faridi’s career came in 2009 when he won the prestigious “Close-Up Performer” reality show on Doordarshan. This platform showcased his immense talent to a national audience and marked the beginning of his professional journey. The victory came with a cash prize of one lakh rupees and a singing contract worth ten lakh rupees with Rajshri Productions — a monumental achievement for a young artist.

His success on “Close-Up Performer” paved the way for other opportunities in the competitive reality TV circuit. Altamash appeared on “Music Ka Maha Muqabla” on StarPlus and “Sa Re Ga Ma Pa Singing Superstar” on Zee TV, where he gained widespread recognition. These platforms not only enhanced his skills but also introduced him to key figures in the music industry, setting the stage for his transition into Bollywood playback singing.

Notable Bollywood Contributions

Altamash Faridi’s Bollywood debut proved that his talent was not confined to reality TV. His playback singing career took off with songs that quickly became hits. One of his early successes was “Tumko To Aana Hi Tha” from the Salman Khan-starrer Jai Ho (2014). The song, a duet with Armaan Malik, showcased Altamash’s ability to evoke emotion while maintaining a polished vocal delivery.

Another standout moment in his career came with “Aaj Ibaadat” from the critically acclaimed film Bajirao Mastani (2015). The song, composed by Sanjay Leela Bhansali, is a spiritual masterpiece that allowed Altamash to display his classical training. His collaboration with Shadab Faridi and Shashi Suman on this track was lauded by critics and audiences alike.

Over the years, Altamash has delivered a string of memorable songs, including “Baras Baras” from Durgamati (2020), “Tur Kalleyan” from Laal Singh Chaddha (2022), and “Tere Vaaste” from Zara Hatke Zara Bachke (2023). Each of these tracks highlights his versatility as a singer, capable of handling romantic ballads, soulful melodies, and high-energy anthems with equal finesse.

Adapting to Modern Trends

One of Altamash Faridi’s defining traits is his ability to adapt to the ever-evolving music industry. While his roots lie in classical music, he has embraced contemporary trends with enthusiasm. His voice adds a unique texture to modern compositions, blending tradition with innovation. This adaptability has made him a favorite among music directors seeking a fresh yet familiar sound.

Altamash’s presence on digital platforms like Spotify has further expanded his reach. His songs consistently rank among the most-streamed Bollywood tracks, introducing his artistry to a global audience. In doing so, he has become a bridge between traditional Indian music and its modern interpretations.

Challenges and Triumphs

Like any artist, Altamash Faridi has faced his share of challenges. Breaking into the Bollywood music industry is no small feat, especially for someone without immediate connections in the field. Despite these obstacles, he remained focused on his craft. His persistence paid off as he established himself as a reliable and talented playback singer.

What sets Altamash apart is his humility and dedication to his art. Even after achieving fame, he continues to strive for excellence, constantly working to refine his skills. His commitment to music serves as an inspiration to aspiring singers who dream of making it big in the industry.

Conclusion

Altamash Faridi journey from a small-town musician to a celebrated Bollywood playback singer is nothing short of remarkable. His story is a powerful reminder that talent, when paired with hard work and determination, can overcome even the toughest of obstacles. With a growing repertoire of hit songs and a loyal fan base, Altamash continues to leave an indelible mark on the Indian music industry.

As he moves forward, one can only anticipate more incredible performances from this gifted artist. His ability to connect with listeners through his soulful voice ensures that his legacy will endure for years to come.

Are you a fan of Altamash Faridi’s music? Dive into his discography on Spotify and discover the magic of his voice. Follow him on social media for updates on his latest projects, live performances, and behind-the-scenes moments. Share your favorite Altamash Faridi tracks with friends and spread the joy of his music far and wide!

[wiredlyrelatable]

Double XL movie review...

It's a bollywood 2022 movie

I have watched this movie in the theaters and many times on Netflix but I don't know why it failed at box office maybe because it's a female centric movie. I want people to encourage such movies because both the female leads Rajshri and Saira killed their performance according to their characters. The male leads Zoravar and Shrikant also performed really well. The story, the songs, the comedy, the pain, the emotions, the society's pressure on fat people whom they call healthy, the marriage problems aftera certain age, the dreams of people should not be decided according to their body or gender....etc etc all were on point.

In the climax the way both the female leads achieve their dream and even find the right men for themselves was a perfect one.

I highly recommend this movie to everyone on this planet as I am sure you will enjoy it by getting involved in it. Generally in such stories at the end they show the fat woman getting thin for sure but that is not called body positivity. Body positivity is not called getting thin. It's just called eating good and exercising.

The name obviously suits the movie as Double XL size of clothing is for fat people be it men or women.

#great attempt

#repeat it 1000.. times

#fun + emotional + relatable

[suvarnarekha]

I also wanna dance on my roof with dolls, chocolates, lime juice, ice cream like Nisha and be a total cool gen z kid but I'm just...

✨lazy✨

[bollywoodmixtape]

Naag Panchami Special : Naag Shanti Stotram

Nag Panchami is one of the unique festivals in India. At this Hindu festival, people perform traditional worship of Nagas or Snakes in India, Nepal, and other south Asian countries with Hindu populations. Naga Panchami is celebrated in the Lunar month of Shravana that mostly falls in July or August.

-- Naag Shanti Stotram | Naag Panchami Special | Popular Devotional Songs | Rajshri Soul (via Rajshri Soul)

[knowledgepronto]

Top 10 Entertainment News | Weekly Wrap | Bucket List & Bharat Ganeshpure Top 10 Entertainment News | Weekly Wrap | Bucket List & Bharat Ganeshpure

[phati-sari]

Hola PS! I am (temporarily) back in the land of the (Tumblr) living!! How've you been? For the movie askbox thingy - Maine Pyaar Kiya - after Hum aapke hain koun, it seemed to be the big Rajshri movie left. If you've done it, (or not watched it), then Ek Vivah Aisa bhi (cause I saw you reference w.r.t Sujamal Bhaisa & I hate this movie but have watched it multiple times) loads of love!

Hello and welcome back :) :)

I've been okay -- had a few rough months but I'm optimistic the ones coming up!!

I'm really glad you sent one in!! It is super awesome to hear from you!! And @noor1025 asked for this one as well :)

Maine Pyaar Kiya

This has not aged well. It’s so cringey and just objectively bad.

I understand that it was a game-changer, and that Barjatya’s début is a solid movie, but I’ve only watched it maybe ... twice? It’s this dramatic, overacted mess and I hate it. I know it’s very popular and well loved, and I think the cast and crew deserve loads of praise for the end result, but this one’s just not for me.

I find Mohnish Behl more interesting as Salman Khan’s brother/jija in a positive role. This character was just ew. I think I’ve spoken about how much I hate the sexual assault is the only way to showcase a villain bullshit.

The songs are terrible.

This one’s not the one with Tuffy the dog right? It’s the one with the magic pigeon?

I think I’d be more tolerant of this movie if it hadn’t been in such a hurry to make no fucking sense. It’s a story of two brats who know nothing about the real world, who think hormones love will fuel them until they’re 75. It’s not sweet, it doesn’t portray the first blush of love, it’s just silly and it makes me want to climb into the screen and smack everyone. And what, pray tell, was the point of showing all that righteous ~a boy and a girl can just be friends~ stuff just to show that ... they can’t?

(I always dislike this. Rowling in Harry Potter told us that the world isn’t split up into good people and Death Eaters only to show that it ... was.)

-5/10 I don’t even think I can enjoy it ironically, it makes me that angry.

Thanks to both of you for asking! ❤️

Send me a movie. PS roasts the classics.

[tellywoodtrash]

Hi TT, have you watched any rajan shahi shows? Even though they are high on song and dance and over dramatic celebration of festivals and marriage, don't you think that his shows are much better than ekta and gul in terms of marriage? As in the leads don't marry for revenge and have normal relationships?

Yeah, the relationships seem healthier, but I haven't watched any of them coz the Rajshri vibe is too strong and notttttttt for me.

[bollywoodirect]

55 Years of Dosti (06/11/1964) 

Rajshri production's film directed by Satyen Bose. It was Sanjay Khan's debut film and had Sudhir Kumar Sawant, and Sushil Kumar Somaya in lead roles. Songs by Laxmikant Pyarelal & Majrooh Sultanpuri. 

What are your favorite songs?

[salmankhanholics]

★ Happy Birthday Sooraj Barjatya: How Hum Aapke Hain Koun changed Indian cinema, brought families back to theaters!

Feb 22, 2020  The year was 1994. A new movie, Hum Aapke Hain Koun, featuring the reigning diva of Bollywood Madhuri Dixit and up-and-coming Salman Khan, had released. The film, a love story with strong family values, had a rather polarising effect — the reviews of the day were dismissive, accusing it of being an extended wedding album. However, slowly but surely, the cinema halls across the country were witnessing a phenomenon that hadn’t been seen in a long time -- entire families were coming to watch this film. So what was about this film that was so different?Hum Aapke Hain Koun, after many years perhaps, kept the family at the heart of its narrative. It was a love story replete with family values. It epitomised sacrifice, duty and love as its cherished values. In many ways, it was Ramayana with a twist. No wonder entire families made a beeline for the cinemas. The year was 1994. A new movie, Hum Aapke Hain Koun, featuring the reigning diva of Bollywood Madhuri Dixit and up-and-coming Salman Khan, had released. The film, a love story with strong family values, had a rather polarising effect — the reviews of the day were dismissive, accusing it of being an extended wedding album. However, slowly but surely, the cinema halls across the country were witnessing a phenomenon that hadn’t been seen in a long time -- entire families were coming to watch this film. So what was about this film that was so different?Hum Aapke Hain Koun, after many years perhaps, kept the family at the heart of its narrative. It was a love story replete with family values. It epitomised sacrifice, duty and love as its cherished values. In many ways, it was Ramayana with a twist. No wonder entire families made a beeline for the cinemas.

The film reportedly had a slow opening; a Mint story mentions that the Barjatya released the film only in 26 cinema halls across the country. By the 21st week, the number of halls showing the film had gone up to 522 and by 25th week, it had touched 730 theatre halls. The film had been recorded in optical stereo sound system and not many cinema halls were equipped with the advanced sound system. Ramanathan PS, head of sales, Rajshri Productions, was quoted in the report as saying, “We were very confident of the project and had gone for very limited release.”

One of the highlights of the film were its 14 songs, exactly the stuff they were panned for by critics. The film had a song for every ritual in a North Indian wedding -- engagement (sagaai), marriage (shaadi, vidaai, joota chupai), baby shower (godh bharai), child birth and family get-togethers (antakshari) apart from love ditties, sung by the film’s lead pair. If in the subsequent Hindi films, particularly those made by Karan Johar and Yash Chopra, feature a lot of marriage songs, centred around a host of Punjabi rituals (sangeet and mehendi), the credit has to go to this film. One can say with some confidence that Dilwale Dulhania Le Jayenge happened, to some measure, because of this film.

The film’s trump card was Madhuri Dixit — the diva’s box office hold skyrocketed after the film. The ’90s belonged to her but after this film, she was untouchable. To this day, she is asked to perform to her hit song, Didi Tera Dewar Deewana. However, the film’s other characters like Renuka Shahane (who played her elder sister) and late Reema Lagoo (who played her mother) are among the fondly recalled stars.

The film, back in 1994, had earned Rs 72.46 crore, according to the Mint report. Adjusted for inflation, the family drama would have grossed Rs 973 crores today. The film’s lasting legacy is evident from the fact that it remains popular on television and has recently found acceptance on video streaming platforms as well.

[amongxylophonesandglockenspiels]

Bollywood Movies Part CLXVI: Not Bollywood, that’s for sure

After her son Abhay Singh “Prince” Nimbalkar (Riteish Deshmukh) is murdered, Sumitra Devi (Tanvi Azmi) travels to Pandharpur to enlist the help of his twin Mauli (also Riteish Deshmukh). However, Mauli has his reservations due to being abandoned as a baby at the shrine of Vitthala.

Lai Bhaari was a pretty good all around entertainer. Some of the fight scenes dragged on and were boring, but the rest was good. I also liked how the movie turned some tropes on their head, and how one of the villains was unexpected until their reveal. All of the performances were good, but I especially enjoyed Sharad Kelkar as the villainous Sangram Singh and Radhika Apte as Mauli’s girlfriend Kavita. Favorite songs are Jeev Bhulala and Aala Holicha Sar Lai Bhaari. Neither song has subtitles.

Balu (Fahadh Faasil) helps colleague Isha (Radhika Apte) out of her funk and the two fall in love and get married. Some time later, they are separated and Isha has filed for divorce. Balu reflects on their marriage and  wonders what went wrong. 

Haram tries to have a comprehensible story, but it never quite succeeds. The movie is quite disjointed and we are left as confused as Balu as to why Isha has left him. I found the subplot involving body double Ameena (Rajshri Deshpande) to be quite interesting, but it only takes up part of the movie. Even with the poor story, Fahadh Faasil and Radhika Apte do admirable jobs in their roles. Favorite songs are Nyangalke Lokam Sontham, Theevandi, and Theeyayi. None of the songs have subtitles.

Sex enthusiast Mandar (Gulshan Devaiah) decides to settle down. He meets Tripti (Radhika Apte) and initially tells her he is a virgin. As he tries to figure out how to tell her the truth, he revisits his sexual awakening as a boy and past affairs.

Hunterr could have been an acceptable film, but it is nearly unwatchable. The flashbacks and flashforwards are extremely disorienting, making it hard to follow the timeline of events in the movie. Additionally, the film has a propensity to treat most of the women as sex objects, rather than people. While Tripti and Mandar’s relationship is cute, it is not enough to make the movie worthwhile. Radhika Apte was excellent as Tripti. Favorite songs are Chori Chori and Bachpan. Neither song has subtitles.

[tuneadda]

Maha Ganapathim Song Lyrics In Tamil & English

Maha Ganapathim Song Lyrics In Tamil & English

Maha Ganapathim Song Credits – Ganesh Devotional Song Song NameMaha GanapathimLanguageSanskritArtistRajalakshmee SanjayComposerMuthuswamy DikshitarLyricsMuthuswamy DikshitarMusic Producer/ArrangerSanjay ChandrasekharSound engineerMayur BakshiManager (Rajshri Soul)Ketan PatwardhanProducerRajjat A. BarjatyaCopyrights and PublishingRajshri entertainment Private Limited Maha Ganapathim Song Lyrics…

[phoenixmediaposts]

*This Sunday, celebrating ’75 years of Rajshri Productions,’ Boman Irani to strum the guitar and sing ‘Give me some sunshine’ on Sony TV’s Indian Idol – Season 13* This Sunday, revisiting the golden era and experiencing nostalgia, get ready to tune in to Sony Entertainment Television’s singing reality show, ‘Indian Idol – Season 13’ as they celebrate ’75 years of Rajshri Productions!’ In the presence respected director Sooraj Barjatya ji and the cast of ‘Uunchai’ – Boman Irani, Neena Gupta and Anupam Kher viewers are in for an ultimate episode filled with music, entertainment and more! Post a musical performance by Chirag Kotwal from Jammu on ‘Gori Tera Gaaon Bada Pyaar’ and ‘Aaj Unse Milna Hai Mujhe,’ ace actor Boman Irani too will be seen taking the centerstage! Making the ‘mausam musicana,’ Boman will be seen strumming the guitar and sing ‘Give me some sunshine’ from the movie ‘3 Idiots’ much to the delight and awe of everyone present on set. Not only this, he after the performance, he mentions that even though in the movie the song depicted a sad moment but according to him, it is a very happy and a motivation https://www.instagram.com/p/CkubCAqqOLY/?igshid=NGJjMDIxMWI=

[bollywoodmixtape]

Hanuman Bhajan : 2020 Hanuman Jayanti Bhajan With Lyrics 00:04 ♫ - Main Menu 00:15 ♫ - Hanuman Chalisa 11:00 ♫ - Bajrang Baan 20:09 ♫ - Hanuman Aarti 25:01 ♫ - Ramayan Aarti -- हनुमान जयंती 2020 | Hanuman Jayanti Special Songs Jukebox | Hanuman Jayanti Bhajan With Lyrics (via Rajshri Soul)

[legalupanishad]

IPR in the Movie Industry: Indian Scenario

This article on 'IPR in the movie industry: Indian Scenario' was written by Ankita Kumari, an intern at Legal Upanishad. Intellectual property rights play an important part in the making of any movie. From script to screen, intellectual property rights influence every step of the filmmaking process. The creation of a film requires the joint efforts of the producers, directors, actors, singers, screenwriters, and numerous other significant entities and is considered quite a complicated process. As a vast field that has a significant impact on our lives, media need some form of protection for the work of its contributors. The media can receive this protection through intellectual property. Intellectual property rights not only provide security from unauthorized use or duplication but also brings goodwill and various ways to make money from it. Numerous benefits can be gained by registering those unique and original ideas under various acts of intellectual property laws. This article will make you understand what IPR is, and how it plays a huge part in the movie industry.

What is IPR?

IPR which stands for intellectual property rights provides monopoly rights to artisans for their creative and original ideas. Intellectual property rights are the rights that protect the creativity of the human mind. Developing unique and original ideas, for instance, a design, an invention, a manuscript, etc. comes under the umbrella of intellectual property. Copyrights, patents, trademarks, designs, geographical indications, etc. are the branches of intellectual properties which provide exclusive rights over the use of his creation over a certain period. And to formally assert this right, you need to register your creations with the Ministry of Commerce & Industry's Office of Controller General of Patents, Designs, and Trade Marks.

Legislations covering IPRs in India and their role in the media industry:

Copyright: The literary and artistic works that people create are protected under copyright law. All items covered by copyright are referred to as "works." Original literary works, original plays, original songs, original artistic creations, motion pictures, and sound recordings are all acceptable. In the filmmaking process, copyright is considered the backbone of any movie. It helps the creators to protect their work from unauthorized use. In exchange for payment and assistance in registering copyrights under their production banner, movie producers hire authors to create fresh stories. As an alternative, they might obtain the authors' consent and pay a fee or a royalty to make movies based on their original works of literature. For every original artistic creation such as original lyrics, and original music, artists can claim copyright and continue to receive royalty fees. Copyright provides shelter to the works of artists. According to Sec 51, of the Copyright Act, reproduction of copies leads to infringement of copyright. A cinematograph film's reproduction of a literary, dramatic, musical, or creative work will be regarded as an infringement copy. There are many cases of copyright infringement that are filed against the movies. E.g. - Amir Khan's mega-hit "PK" was also charged with ripping off Quim Barreiro’s' album cover. - The 2004 Akshay Kumar film Aitraaz was also charged with ripping off "The Graduate" (1967) for its poster. Trademark: Trademarks provide a distinctive identity to goods and services. It could be a word, slogan, logo, tag line, etc. To establish a distinctive identity and stand out in a crowded market, film companies utilize trademarks. E.g. - Dharma Productions is a word trademark, registered to Karan Johor, - Rajshri productions is a device trademark, registered to Rajshri Productions Pvt. Ltd., etc. The legislation governing the protection of trademarks in India is known as the Trademarks Act, 1999 (hence referred to as the Act). The unauthorized use of any mark, which is duplicate leads to trademark infringement. For instance, in a twenty-year-old trademark case, the Delhi High Court placed restrictions on those who were using the Hindi film "Sholay" as a title. The "Sholay" film's creators brought the lawsuit. The High Court also granted Sholay Media and Entertainment Pvt. Ltd. and Sippy Films Pvt. Ltd., the film's creators, damages in the amount of Rs. 25 lakh. They had complained to the court about how the title was being used in the defendants' company name and on the website www.sholay.com. Patents:  Making a movie is impossible without technology and inventiveness. Video cameras, computers with video editing soft wares, special effects, etc. are the technological equipment that is utilized to create any movie. Innovative minds have looked for new, better ways to push the limits of possibility throughout history. These technological innovations are frequently covered by patents. Digital technologies are shaping the future of film and fuelling our passion for films and web series. To improve filmmaking processes and promote innovation in the field, a filmmaker can use patent protection. Designs: The features of shape, pattern, configuration, decoration, or composition of some lines or colors applied to the items are protected by design registration. The Design act, of 2002 gives protection to any type of design, including computer simulations, sketches, and apparel and footwear creations from the fashion sector. Costumes are something that brings life to the character. Those unique designs can be protected by design registration. In other words, it safeguards distinctive industrial designs produced with a view to commercialization, improvement, or enhancing their aesthetic worth. Design act governs it all.

IPR in the Movie Industry: Indian Scenario

Suggestions:

In India, registration of intellectual properties is optional. But it is highly advisable to get it registered with the office of controller general of Patent, Designs, and Trademarks under the Ministry of Commerce and Industry, Government of India. Every inventor should be aware of the laws of intellectual property, as it plays a critical part. Registration should be done to ensure that no one else is reproducing the copies or duplicating their work for monetary gains.

Conclusion:

Intellectual property rights play an important role in the film industry. From writing a script for a movie to designing something unique in the process of filmmaking. Everything just gets protected under the umbrella of, intellectual property rights. Intellectual property rights provide growth and development to the film industry. The works of artists should be registered by filmmakers to prevent instances of infringement. India has developed into a producer of IP, and as a result, we have realized the need of protecting our intellectual property.

References:

Advocate Shubham Borker. (2019. Aug 12). Bollywood & IPR- Famous Copyright Cases in Movies in India. Retrieved: https://www.lawyered.in/legal-disrupt/articles/judgemental-hai-kya-movie-posters-copyright-infringement-or-not/ First India. (2022, May 26).Trademark case: Delhi HC restrains persons using title of film 'Sholay' on website. Retrieved: https://firstindia.co.in/news/bollywood/Trademark-case-delhi-hc-restrains-persons-using-title-of-film-sholay-on-website Read the full article