Love Mocktail 3 row pits writer against filmmaker

It’s my story’ versus ‘it’s not stolen’ — a familiar clash in the film industry. The plagiarism row around Love Mocktail 3 has once again put the spotlight on this tug-of-war between writers alleging idea theft and filmmakers defending their creative process. Director-actor Darling Krishna has been accused by filmmaker Raghavendra M Naik of lifting his story. While Raghavendra alleges that his idea has been replicated, Krishna maintains that the two stories are not the same and says audiences are free to compare both versions. The episode once again shines a spotlight on the writers’ fraternity — while also highlighting how filmmakers can sometimes be subjected to unfounded claims. As claims and counterclaims unfold, Bangalore Times looks at how both sides navigate such disputes.

The allegation and the response

Raghavendra tells us, “The production house I narrated the story to and I will meet to discuss the matter with the Karnataka Film Chamber of Commerce soon and decide on the next course of action. We haven’t initiated any legal proceedings yet. We also plan to consult the Chamber and the Screenwriters Association on precautionary measures — like voice or video recordings, or written documentation — that writers and filmmakers can adopt during narrations to avoid such situations.” Responding to the allegations, Krishna says, “If the accusations were true, why would my wife Milana, Yadu, and I spend four years writing Love Mocktail 3? I could have easily made the film that was allegedly narrated to me. Posting such claims on social media instead of addressing them directly amounts to defamation. I am now taking legal action on all the points mentioned.”

Experts weigh in with their experiences:

I’ve been both a victim and accused: Director and writer Simple Suni

Director Simple Suni recalls a personal experience from early in his career. “I had narrated a story to an actor in the presence of another director. That director later made a film with certain shots and character names from my narration. The screenplay was credited to someone else, but it was clear the film was inspired by my story. I chose not to pursue the matter,” he says. However, Suni adds that he has also been on the receiving end of similar accusations. “When I made Operation Alamelamma, someone claimed I had plagiarised their story about Goddess Alamelamma. I invited them to watch the film, and they agreed that apart from the name, there was no similarity,” he shares.

Don’t rely on verbal pitches, register your script: Writer Pooja Sudhir

Screenwriter and Sakutumba Sametha co-writer Pooja Sudhir emphasises the importance of documentation. “Very early in my career, I was advised never to share ideas verbally,” she says. Once her script is ready, she registers it with the Screenwriters Association (SWA) and ensures all narrations are documented. “At the production house I’m associated with, we ask writers to email their ideas to an official address. This creates accountability and streamlines the process. If an organised writers’ body is established within the Kannada industry, it would greatly help protect writers’ interests and bring in a culture of formally documenting scripts,” she adds.

Ideas may clash; execution matters: Director Pawan Kumar

Filmmaker Pawan Kumar points out that similarity in ideas is often inevitable. “In cinema, ideas are everything, and it’s possible for two people to think along similar lines independently. I once had an idea for a women-led futuristic film, and recently saw a series along similar lines on OTT. An actor I had spoken to even messaged me saying it resembled what I had in mind,” he says. Drawing a parallel with literature, he adds, “Even Shakespeare’s works have been adapted countless times. What matters is how you interpret and present the idea.” He also stresses the importance of formal registration. “Registering your work with the SWA gives it a timestamp. The association can act as a witness in case of disputes, but in the absence of a dedicated body in the Kannada industry, legal recourse remains the only option,” he explains.




How to protect your story

To safeguard your work before pitching, industry experts recommend the following:

-Register first, pitch later: Always secure a registration number from the SWA or the Copyright Office before sharing your script or even a detailed synopsis.

-Use an SWA watermark: Mention your registration number on the title page to deter misuse.

-Fix your idea in writing: In India, ideas alone cannot be copyrighted—only their expression can. Ensure your story exists as a written document.

-Consider NDAs: While larger studios may resist, smaller production houses are often open to signing non-disclosure agreements.

-Maintain a paper trail: Share scripts via email rather than informal channels to create a verifiable timestamp.

(Inputs by Yemen S)



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