The Only Time It's Okay to Remake a Classic

Today, I learned that the Bhool Bhulaiyaa franchise has a new sequel. From what I’ve heard, it rehashes the same script without much novelty. At this point, Bollywood’s reputation for recycling hits is sadly expected.

I’ve come to accept Bollywood as a money-making machine, endlessly recycling anything that becomes a hit. So, when I stumbled upon Mere Dholna 3.0, I was skeptical. While I have no plans to see the film, I decided to give the track a chance—it’s Sonu Nigam, after all.

This version of the song is set in a different context than the original, exploring themes of betrayal and hatred instead of romance. It starts off well, showcasing a classic Sonu Nigam style—though initially, it bears little resemblance to the original. However, as soon as we reach the chorus (which remains the same as in the original), the emotion shifts dramatically, altering the cadence as well. At that point, I could no longer hear Sonu Nigam; it felt more like Kishore Kumar. While Sonu often draws inspiration from legends like Md. Rafi and Kishore Kumar, this interpretation didn’t resonate with me. It made me question Pritam’s choice to feature Sonu Nigam for this version.

Unless…

Around the 2:50 mark, the song switches the raga—which was totally unexpected since I had assumed it would be the same song wrapped in new lyrics. The song transitions to using a minor second, augmented fourth, and minor sixth—the Hungarian minor scale. This darker raga elevates the song’s themes of betrayal and hatred, making it more than just a recycled melody.

This was a beautiful surprise and exactly how a remake should be done. Transitioning from the former, telling a story, and giving people something new (and I don’t mean just a new beat). Art should be anything but lazy.