The Delhi High Court has ordered renowned music composer AR Rahman and the producers of the film ‘Ponniyin Selvan 2’ to deposit ₹2 crores with the court due to a copyright dispute involving the Junior Dagar brothers’ classical rendition of ‘Shiv Stuti.’

Justice Prathiba M Singh issued an interim ruling on April 25, siding with the Junior Dagar brothers. She emphasized that, from a listener’s perspective, the essence of Rahman’s song ‘Veera Raja Veera’ goes beyond mere inspiration, showing significant similarities in notes, emotions, and overall impact to ‘Shiv Stuti.’ The judge concluded that the new track infringes on the rights of the original creators of the homage to Lord Shiva.

Furthermore, the court mandated that a credit slide for the Junior Dagar brothers—Late Ustad N. Faiyazuddin Dagar and Late Ustad Zahiruddin Dagar—be included in the film on all streaming and online platforms. The court also awarded ₹2 lakh in costs to the family of the late artists.

Ustad Faiyaz Wasifuddin Dagar, son of Faiyazuddin Dagar and nephew of Zahiruddin Dagar, claimed in the lawsuit that he holds the copyright for all original compositions of the Junior Dagar brothers, including ‘Shiv Stuti,’ which he argued was unlawfully infringed upon.

The court stated, “Ultimately, this court holds that the contested song is not merely inspired by the composition ‘Shiva Stuti’ but is, in fact, identical with only the lyrics changed. While modern elements may have been added, the fundamental musical structure remains the same, leading to infringement of the rights associated with ‘Shiva Stuti.’” Consequently, the court ordered AR Rahman, Madras Talkies, and Lyca Productions to deposit ₹2 crores, which will be held in a fixed deposit pending the lawsuit’s final outcome.

The ruling acknowledged potential harm to the creative and moral rights of the original composers, who are deceased. It further noted that “Defendant number 1 (Rahman), who enjoys international fame, initially failed to acknowledge the plaintiff’s work. When approached, the recognition was given, though reluctantly. It’s also significant that the singers of the song are disciples of the plaintiff, highlighting the deep ties between ‘Shiva Stuti’ and ‘Veera Raja Veera.’”

Conversely, the defense argued that ‘Shiv Stuti’ is rooted in the traditional dhrupad genre and lies within the public domain. They contended that the singing style and composition were not original, hence not eligible for copyright protection.

Nitesh Tiwari’s highly anticipated film, ‘Ramayana,’ is set to be one of the major cinematic events in the coming years. Starring Ranbir Kapoor, Sai Pallavi, Lara Dutta, Yash, Sunny Deol, and Ravi Dubey, among others, the project is generating a lot of buzz. According to a report from Bollywood Hungama, the filmmakers are planning to unveil the first look of the film at the World Audio Visual & Entertainment Summit.

A source shared with the publication, “The inaugural WAVES Summit will take place from May 1-4, 2025. The organizers are determined to make it one of the highlights of the year. They’ve invited prominent figures from various Indian film industries. To heighten the excitement, the ‘Ramayana’ team is eager to share an update during this star-studded gathering. It’s a mutually beneficial situation: the film team will gain significant exposure, while WAVES will enjoy extensive media coverage.”

“The makers are considering presenting a poster or video of ‘Ramayana,’ but plans are still in progress. A firm decision will be made shortly, contingent on how everything aligns. Initially, they had aimed to announce the film on Ram Navami 2024, but that was postponed. Despite the uncertainty, the WAVES Summit presents an excellent opportunity.”

The film features an impressive cast, with Ranbir Kapoor and Sai Pallavi portraying Lord Ram and Goddess Sita, respectively. Yash will take on the role of Ravana, while Sunny Deol plays Lord Hanuman, and Ravi Dubey stars as Lakshman. This epic mythological adaptation will be released in two parts, with the first installment scheduled for 2026. At the Red Sea Film Festival, Ranbir shared his enthusiasm about completing the shoot for the first part of ‘Ramayana’ and expressed pride in being involved in “India’s greatest story.”

**Jewel Thief: The Heist Begins** features two directors, yet neither seems present when their guidance is most needed. The storyline drifts aimlessly, supported by a script that feels hastily scribbled. This just might be Netflix’s worst original film to date. While the conclusion hints at a sequel, one can only hope it’s never realized.

The film’s execution exemplifies the notion that heist narratives can lead to disappointment. It’s hard to fathom how such poorly crafted material passed through Netflix’s approval process. What were the decision-makers thinking? And what drove stars Saif Ali Khan and Jaideep Ahlawat to take part in this dismal endeavor?

I found myself questioning reality, struggling to comprehend the lackluster suspense, cliché plot twists, uninspired dialogues, and the gaudy portrayals of wealth. The repetitive shattering of glass walls to indicate chaos adds up to nothing—just a collection of low-quality moments.

I anticipated some compelling confrontations between the lead characters, but Ahlawat and Khan are left with lines that feel more like casual chatter at a toll booth. There’s little substance to their characters, and it appears they might be in it just for fun—financial motivation certainly seems a factor. I hope they enjoyed the experience; unfortunately, viewers did not share in that enjoyment.

Ahlawat’s performance particularly disappointed me. It seems his rising stardom has burdened him with a character that resorts to juvenile antics to try and mimic the charm of Saif’s character, Rehan Roy. However, the story provides no space for any character development.

Burdened by lazy writing, **Jewel Thief** feels like an underdeveloped heist drama that seems out of place in this era. The treatment and plot devices are outdated, reminiscent of a 1970s film where fragments of glass equated to valuable treasures.

The film’s absurdities include a poorly scripted in-flight altercation meant to showcase Rehan in a positive light, which ultimately fails. There’s no effort to lend credibility to the heist, nor to provide any resolution. Each twist feels like a nail in the coffin.

What we have here is not a film, but a trap reminding us that heist stories may have outlived their welcome in cinema. Long live **Dhoom**.

**Rating: ***

Views expressed are personal.