It is always said that Bollywood doesn’t have originality. Most of the Hindi films are a remake or inspired by Hollywood movies. But then, we are sure you guys don’t know that there are a few Hollywood movies too that are inspired by Bollywood films.
So, here’s the list of Hollywood films that were a remake of Bollywood movies…
Fear
1996 release Fear starring Mark Wahlberg and Reese Witherspoon was said to be inspired by Shah Rukh Khan, Juhi Chawla and Sunny Deol starrer Darr. Apart from the exact English translation of the title, there were a lot of things in Fear that reminded moviegoers of Darr. By the way, no one can beat our SRK’s style of saying ‘K... K… K… Kiran’.
Win A Date With Tad Hamilton
Win A Date With Tad Hamilton was highly inspired by Aamir Khan and Urmila Matondkar starrer Rangeela. Both the movies were a love triangle between a girl, her best friend and a movie star. However, the girl’s best friend here wasn’t tapori like Aamir Khan in Rangeela.
Just Go With It
Salman Khan, Sushmita Sen, and Katrina Kaif starrer Maine Pyaar Kyun Kiya made us laugh out loud in 2005. Then in 2011 released Just Go With It starring Adam Sandler and Jennifer Aniston. The movie was a remake of Maine Pyaar Kyun Kiya, but it was panned by critics and was said to be one of the worst films of 2011.
Leap Year
Kareena Kapoor Khan gave her career’s best performance in Imtiaz Ali’s Jab We Met. Amy Adams stepped into the shows of Bebo in Leap Year which was highly inspired by Jab We Met. But like Just Go With It, Leap Year too didn’t get praises from the critics and Amy too didn’t make a mark like Kareena.
Delivery Man
Ayushmann Khurrana became a sperm donor in 2012 release Vicky Donor. In 2013, released Delivery Man which also revolved around the sperm donation. Vince Vaughn played the lead role in the Hollywood film.
A Common Man
Neeraj Pandey’s A Wednesday starring Naseeruddin Shah and Anupam Kher is undoubtedly one of the best thrillers made in Bollywood. The movie was remade with Ben Kingsley and Ben Cross in 2013 titled A Common Man. Just like the original one, A Common Man also received a great response.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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