The Magic of Double Roles & Reincarnation in Indian Cinema

Double roles have caught on in a big way in Indian cinema ever since the first movie Lanka Dahan was made in 1917. The movie showed Anna Salunke in dual roles directed by the father of Indian cinema, Dadasaheb Phalke. He was in fact the first one to start the double role trend in Bollywood.

Many movie makers have cashed in on the success of these kinds of movies and one after another similar movies have been released such as Patni Pratap (1923), Kashmiri Sundari (1925) and Awara Shahzada (1932). With the 1949 movie, Mahal starring Ashok Kumar, a new kind of cinema emerged based on the theme of reincarnation. The film showed Madhubala and Ashok Kumar both in double roles being re-born in the present age in different circumstances. The movie not only celebrated Golden jubilee but also made Lata Mangeshkar a star singer due to the super-duper hit song - "Aayega Aanewala”… in the movie.

The success of Mahalopened a flood gate of double role films based on the theme of reincarnation like Bimal Roy’s Madhumati starring Dilip Kumar and Vyjantimala, Neelkamal ( Raj Kumar and Waheeda Rehman), Milan (Sunil Dutt and Nutan), Mehbooba (Rajesh Khanna and Hema Malini), Kudrat (Rajesh Khanna and Hema Malini), Tumhare Liye (Sanjeev Kumar and Vidya Sinha), Karan Arjun (Salman Khan and Sha Rukh Khan), Om Shanti Om (Shah Rukh Khan and Deepika Padukone) and the latest Rabta (Sushant Singh Rajput and Kriti Sanon) etc, the list still continues…

The concepts of double roles and reincarnation have been integral to Indian cinema, offering audiences complex narratives and showcasing actors' versatility. These themes have evolved over the decades, reflecting societal beliefs and cinematic trends.​

Early Instances and Evolution

The fascination with double roles in Indian cinema can be traced back to the silent film era. In 1917, Dadasaheb Phalke's Lanka Dahan featured actor Anna Salunke portraying both Lord Rama and Sita, marking one of the earliest instances of a double role in Indian films. This trend continued with films like Patni Pratap (1923), Kashmiri Sundari (1925), and Awara Shahzada (1932), where actors took on multiple roles to enrich storytelling.​

The 1943 film Kismet, directed by Gyan Mukherjee, presented Ashok Kumar in a double role as Shekhar and Madan. This film was notable for introducing bold themes, including an anti-hero protagonist and an unwed pregnant woman, and it achieved unprecedented success, running for three years in a Calcutta theater. ​Golden Era of Bollywood

Reincarnation Theme in Indian Cinema

The theme of reincarnation added a mystical dimension to Indian films. Kamal Amrohi's Mahal (1949) is often credited as one of the first Indian films to explore reincarnation. Starring Ashok Kumar and Madhubala, the film tells the story of a man who becomes obsessed with a mansion and believes he is the reincarnation of its former owner. The film's haunting narrative and the song "Aayega Aanewala" contributed to its success and set the stage for future films on reincarnation. ​

Following Mahal, Bimal Roy's Madhumati (1958) further popularized the reincarnation theme. Starring Dilip Kumar and Vyjayanthimala, the film intertwines romance and mystery, depicting star-crossed lovers reunited in a new life. Its success inspired numerous films exploring reincarnation, such as Neelkamal (1968), Milan (1967), Mehbooba (1976), Kudrat (1981), Karz (1980), Om Shanti Om (2007), and Raabta (2017)

Shakespearean Influence and Comedic Double Roles

The influence of Shakespeare's "The Comedy of Errors" is evident in Indian cinema's portrayal of double roles. Ishwar Chandra Vidyasagar's play Bhrantibilas, based on Shakespeare's work, inspired several film adaptations. The Bengali film Bhrantibilas starred Uttam Kumar and was later remade in Hindi as Do Dooni Chaar (1968) with Kishore Kumar and Angoor (1982) with Sanjeev Kumar. These films employed the double role trope to create comedic situations arising from mistaken identities. ​

Notable Double Role Performances

Several actors have delivered memorable performances in double roles, showcasing their range and contributing to the films' success:​

• Dilip Kumar in Ram Aur Shyam (1967): Portrayed twin brothers with contrasting personalities, setting a benchmark for double role performances.​

• Hema Malini in Seeta Aur Geeta (1972): Played twin sisters with opposite traits, leading to comedic and dramatic situations.​

• Amitabh Bachchan in Don (1978): Essayed the roles of a ruthless gangster and his lookalike, a simpleton tasked with infiltrating the underworld.​

• Sridevi in ChaalBaaz (1989): Portrayed twin sisters separated at birth, showcasing her versatility in both comedic and dramatic scenes.​

• Shah Rukh Khan in Duplicate (1998): Played both a criminal and his doppelgänger, leading to a mix of action and comedy.​

• Kangana Ranaut in Tanu Weds Manu Returns (2015): Portrayed both the protagonist and a lookalike athlete, adding depth to the romantic comedy. ​

Technological Advancements and Modern Interpretations

Advancements in film technology have allowed for more seamless portrayals of double roles. Techniques such as motion control cameras and CGI have enabled actors to interact with their counterparts more convincingly. Films like Fan (2016), where Shah Rukh Khan played both a superstar and his obsessed fan, utilized these technologies to enhance storytelling. ​

Cultural Significance

The recurring themes of double roles and reincarnation resonate with Indian audiences due to cultural beliefs in rebirth and destiny. These narratives explore questions of identity, fate, and the eternal nature of the soul, aligning with philosophical concepts prevalent in Indian traditions.​

Conclusion

The motifs of double roles and reincarnation have provided Indian cinema with rich storytelling avenues, allowing filmmakers to delve into complex narratives and actors to showcase their versatility. From early adaptations to modern interpretations, these themes continue to captivate audiences, reflecting the evolving landscape of Indian cinema.