Jun 05, 2026 9:15pm IST
Amaal Mallik: ‘I Am Not Against Remixes, I’m Just Against The Volume’ (EXCLUSIVE)
One of the few outspoken advocates for originality in Hindi film music, Amaal Mallik is against the oversaturation of recreations and remixes. The trend has continued unabated for the better part of a decade with several deserving originals losing out in marketing budgets and release schedules to recreations or remixes. Clearly, it’s the norm rather than the exception now with the Hindi film industry being the only place where familiarity does not breed contempt.
In the last week alone, it became apparent that a single soundtrack, “Hai Jawaani Toh Ishq Hona Hai” had several recreations and that the upcoming “Welcome To The Jungle” would follow the same route. Begs the question, are music-makers and labels not afraid of being trolled anymore?
“More than getting trolled, nowadays, I feel like people are more afraid of me saying something about it,” retorts Amaal Mallik, immediately following it up with, “They feel, ‘Damn, now Amaal has given an interview, ab kiski baari hai (whose turn is it now)?’”
Sole protestor
Making sure to maintain that he isn’t ungrateful for the opportunities that have come his way in the music industry, there’s an air of resignation in his tone with the way things are.
“Initially, I was very upset that it was only me from my era, who was raising their voice and saying, ‘Let's not do remixes like this’ and now it's too late. I told them, warned them way before! If 80% of the year’s music is recreated, there's nothing for the audience to look forward to, either. They've already heard these songs.”
Comedy being an exception
When pointed out that “Ucha Lamba Kad Forever” from “Welcome To The Jungle” and the sequel’s title song were released in quick succession, he matter-of-factly states, “There are two ways to see it. When you do a film like the “Welcome” sequel, then somewhere maybe one song, at least the title song will be remade. Sometimes you can play these games and gimmicks, when it works out in a comedy. A comedy film subject can have umpteen number of remixes and maybe a few originals, also won’t harm (sic).”
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There’s an over-reliance on building on the nostalgia trope. “I think dependency bohot hai (there’s a lot of dependency). It helps audiences relate to the past film and there’s the nostalgia factor… It is a big thing. Today, a lot of people are remembering 10-year-old reels, 10-year-old music videos, 10-year-old films. But zaroori nahi hai (it’s not necessary). Do it only if it makes sense, like when you do an “Ami Je Tomar” or a “Mere Dholna Sun” in “Bhool Bhulaiya,” it doesn’t make sense if it’s in a “Badrinath Ki Dulhaniya.” I just think it should be done the right way. I have not heard “Ucha Lamba Kad” and I hope they credit the original. I think Anand Raj Anand made it. That's the most important way to do it.”
The blame game
Mallik is quick to point out that there are a couple of other movies that came out, which have had seven to eight recreations. “It's a series. I feel that when it comes to blaming, it is always someone from the music community getting blamed. [People say] the music director doesn’t know his job, so a music label gets remixes done. Labels do it for their monetary benefit because remakes get views on both the old and new versions. So they are doing it for the business. If the artist wants their integrity and honesty, they have to put up a fight. How I put up. Like I'm up against the biggest labels in the country. I’m always saying, ‘If you want to do it, do it my way or I’m not interested.’ Now that I think about it, I should have taken it up because I feel that I could have done a better job than them. A lot of people have done it since I left around seven years ago”.
There’s an undercurrent of fear in the industry. He observes, “People are not very integrity and ethics-driven in this industry. There’s also the fear that an actor or label will feel bad because they said no. So, everyone can’t be fearless. I’m there, so it’s fine. Why do you need someone else? One voice is enough for a generation. And that’s me from my era.
Do it like 'Dhurandhar'
Mallik brings up “Dhurandhar” as an example. “I think you should just have a balance here. When people say “Dhurandhar has remixes – you notice that of eight-ten songs, four are folk songs, some are from the Saregama catalog of songs, but Shashwat Sachdev’s still made “Gehra Hua” or a “Main Na Raha.” Somewhere along the way, the music director brought his originality to the project. Why I'm talking about this is because it's a masterclass for people to get professional.”
He elaborates, “When a film is worked hard upon, you can see direction, DoP (direction of photography) music, background score, all the actors, coloring, grading, art direction, all the departments have worked hard. When it comes to other films, I’ve noticed that, apart from your department, everyone wants to teach the other department. Will a choreographer teach me how to make a song? Unless you are someone who knows what the song is or shares a director’s vision. If the director insists on remixes, that’s their call. But how do you navigate through it?”
Sharing on how Aditya Dhar and Shashwat Sachdev’s combined vision made sure that the remixes were “not like 100 other remixes” he says there’s only one way to do it right. “You have to remix in a new way where you break the mould of sound which Shashwat has done; which is not happening in the songs you mentioned earlier. In the post-’Dhurandhar’ era, you will have to convince audiences that your film has value and you cannot force-convince someone. If you think that you can attract them by putting in remixes, those days are done.”
Change starts at the top
He believes the need for change has to start right at the top. “Even the actor should stop doing so many remakes. It starts from the makers as well. If you keep taking South films, make remixes, keep taking the South scripts, make it one big superstar Hindi version of this. We’ve seen them do it with an Allu Arjun film [Ala Vaikunthapurramuloo] with a big star of the young era like Kartik Aaryan [Shehzada]. It didn’t work, right? Sometimes, it will work, sometimes it will not. But fitting a recreation into a remake? “Bhool Bhulaiya” was the only successful one in the last few years which got credibility. That being said, there will be brickbats to remixes and I am not against them, I am just against the volume.”
Do it right!
His parameters are amply clear. “You have to take care if the song was released 20-30 years ago. If you tell me to remake ‘Tujhe Dekha Toh Ye Jaana Sanam,’ first, I will say no. Second, it should be part of the DDLJ (‘Dilwale Dulhania Le Jayenge’) franchise. Maybe then, it makes sense. And then, you have to live up to the greatness. Either you make it and take the song to another level. Or you leave it because there are our memories, emotions attached to it. When you grow up on a certain music, then you feel, ‘Don't spoil my childhood’. People connect to music like memories, so you have to be careful,” he says.
He admits, “I’ve been lucky by saying no. A lot of people felt it was a mistake or a bad career decision, saying no to so much work. But I'm still here being loved, respected in my era. Not ever told that you are responsible for destroying the golden era of music. I think I am the last few that want to do it the right way.”
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