The much-anticipated reunion of Priyadarshan and Akshay Kumar in the upcoming horror-comedy Bhooth Bangla has already made fans excited. However, the release of the film’s first track, Ram Ji Aake Bhala Karenge sparked a wave of speculation among cinephiles. Many pointed out striking similarities between the song’s lyrics and the iconic Bhooter Raja Dilo Bor from Satyajit Ray’s 1969 fantasy classic, Goopy Gyne Bagha Byne.
At the trailer launch for Bhooth Bangla today, Priyadarshan took center stage to clear the air. Addressing the media during an interactive session, the veteran filmmaker responded to the comparisons with characteristic poise and deep reverence for the legendary Ray. When questioned whether the lyrical similarities were a conscious decision or a tribute, Priyadarshan was quick to explain his admiration for Satyajit Ray. He said, “First thing I want to tell you is okay, I mean, huge respect I have for him because he’s one of the masters from whom I learned cinema.”
Addressing the specific use of the word “Bhoot” (ghost) and the rhythmic listing of various spirits in the song, which mirrors Ray’s famous Bengali track, the director challenged the notion that words can be owned in a creative sense. He said, “The word you are saying is Bhoot, correct? Wahan Bhoot, Yahan Bhoot. So now, can I ask you something? How many songs, hundreds of them, have used the word Deewana in Indian cinema? How many? That means the first person who used the word Deewana has the right to use it? So it’s only a word.”
Priyadarshan further explained that while the lyrics might share a thematic or phonetic vibe with the 1969 masterpiece, the musical composition stands on its own. He clarified that the two lines in question do not constitute a copy of the original work’s soul. He explained, “We can’t use… if somebody uses two lines, everybody can use, but the tune has nothing to do with that song. It has nothing to do. The lyric person has written those… and that is why we were so confident.”
The director also pointed out that titles and themes often recur in cinema, citing the 1964 film Bhoot Bungla starring Mehmood and R.D. Burman as an example of how certain creative elements are part of a shared cinematic heritage. Concluding his response, Priyadarshan reaffirmed that any reference to Ray’s work should be seen through the lens of deep admiration rather than imitation. He placed the legendary filmmaker on the highest possible pedestal. He mentioned, “As I have already told you, I respect Satyajit Ray like God of Indian cinema.”
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