Bollywood’s Battle for Names: Why Film Title Wars Refuse to Die

Filmmaker Madhur Bhandarkar, who directed the National award-winning Chandni Bar (2001), recently lodged a complaint with the Indian Motion Picture Producers’ Association (IMPPA) against the makers of Chandni Bar Returns, alleging unauthorised use of his film’s title.

The new film’s team, led by producer Sandeep Singh, has denied the allegation, claiming that they had “acquired the option rights” from the original producers and even shared a Trademark Registry certificate to prove it.

Reportedly, the IMPPA confirmed Bhandarkar’s complaint and instructed the new producers to “cease using the title immediately.”

While the final decision may take time, the dispute has rekindled a familiar debate in the Hindi film industry, that is, who really owns a title once it becomes iconic?

Title wars are hardly new to Bollywood. From Bandit Queen to Zindagi 50-50, from Cocktail to Heroine, the industry has seen several tussles over ownership, creative control, and registration rights.

What makes it murkier is that film titles in India are not automatically protected under copyright law — they’re safeguarded only if registered with trade associations like IMPPA, FWICE, or Indian Film and Television Producers Council (IFTPC). Even then, the system isn’t watertight.

“Anyone can pick a title that sounds similar or adds a twist — a ‘Returns,’ a ‘2.0,’ or a ‘Reloaded’ — and the confusion begins,” says an entertainment lawyer who has handled multiple such cases.

“Unless the original filmmaker has explicitly trademarked the title or secured remake rights, it’s a legal grey zone,” she adds.

In the case of Bhandarkar’s Chandni Bar, starring Tabu and Atul Kulkarni, this issue bears special attention also because the film was a gritty, unforgettable portrayal of Mumbai’s bar dancers, and earned both, critical acclaim and a National Award. Any sequel or spin-off using the name inevitably carries that emotional and cinematic baggage.

For many filmmakers, a title is not just a label but a brand and an identity built on years of work. “When someone uses a title like Chandni Bar Returns, they’re not just borrowing a name; they’re borrowing recall value, reputation, and relevance,” says a senior trade analyst.

In recent years, the Hindi film industry has shown a growing obsession with nostalgia-driven titles such as Satya 2, Aashiqui 2 and Love Aaj Kal 2.

Sometimes, these reboots are officially licensed continuations. But often, they’re clever marketing ploys riding on the success of earlier hits.

Legal experts say the industry needs a more centralised and transparent title registration process, akin to what Hollywood follows under the Motion Picture Association (MPA).

Until then, disputes like Chandni Bar Returns will likely continue to surface  serving as a reminder that in Bollywood, the battle for a name can be as dramatic as the films themselves.