Starcast: Rajesh Khanna, Salma Agha, Danny Denzongpa, Pradeep Kumar, Deven Verma, Preeti Sapru and Prem Chopra Music :- R D Burman Direct...
Starcast: Rajesh Khanna, Salma Agha, Danny Denzongpa, Pradeep Kumar, Deven Verma, Preeti Sapru and Prem Chopra
Music :- R D Burman
Direction :- Brij
Oonche Log released on July 5,1985 is a Hindi drama directed by Brij
that’s got a bit of a wild family tree, pulling heavily from Emily Brontë’s
Wuthering Heights, with a few nods to its cinematic cousins, the 1966 Bollywood
flick Dil Diya Dard Liya and the 1983 Pakistani film Dehleez. This movie is a
fascinating mix of classic literature vibes and Bollywood melodrama, but it’s
also got its own quirks that make it stand out in the ‘80s Hindi cinema
landscape.
The Roots: Wuthering Heights, Bollywood Style-
First off, let’s talk about the elephant in the
room: Oonche Log is heavily inspired by Wuthering Heights. Like, it’s not just
a subtle nod—Brij took Brontë’s stormy, gothic romance and gave it a desi
makeover, complete with dramatic confrontations and a thumping R.D. Burman
soundtrack. But it didn’t stop there. The film is also a remake of Dil Diya
Dard Liya (1966), which itself was a Bollywood spin on Wuthering Heights, and
it borrows generously from the Pakistani film Dehleez (1983), which was another
take on the same story. So, we’ve got a curious mishmash here, with each
version adding its own flavor to Brontë’s tale of love, revenge, and class
divides.
For those who haven’t read Wuthering Heights, it’s
about Heathcliff, a brooding outsider, and Catherine, a fiery heiress, whose
love is doomed by social barriers and their own messy emotions. Oonche Log
takes this core and transplants it to an Indian haveli, swapping moors for
dusty stables and gothic gloom for Bollywood’s signature emotional
rollercoaster. The film follows Raju (Rajesh Khanna), an orphan adopted by
Thakur Vikram Singh after a tragic accident, who grows up alongside Vikram’s
kids, Maan Singh (Danny Denzongpa) and Poonam (Salma Agha). Naturally, Raju
falls for Poonam, but Maan’s a total snob who can’t stand the idea of a “lowly”
orphan mixing with his family.
The Plot: Love, Betrayal, and Stables-
The story kicks off with Thakur Vikram Singh
(Pradeep Kumar) accidentally killing a woman in a car crash and adopting her
son, Raju, to make amends. Raju grows up in the Thakur’s sprawling estate, but
Maan, the entitled son, treats him like dirt. When Vikram sends Maan off to a
hostel to teach him some humility, things seem to look up for Raju. But then
Vikram dies, Maan returns, and all hell breaks loose. Maan kicks Raju out to
the stables, brands him with an “M” (yep, that’s a thing), and basically makes his
life miserable. Meanwhile, Raju and Poonam fall in love, but Maan’s scheming
and class prejudice keep them apart. It’s a classic tale of love thwarted by
ego and status, with a hefty dose of Bollywood’s “sacrificial hero” trope.
Heathcliff’s raw, almost savage intensity is
dialed back in Raju, who’s more of a noble sufferer than a vengeful antihero.
Poonam, unlike the wild and willful Catherine, is a gentler, more traditional
Bollywood heroine. The film also borrows heavily from Dehleez—some say too
heavily, with accusations of shot-for-shot copying, down to camera angles and
set designs. The song “Aaj Tu Gair Sahi,” sung by Kishore Kumar, is a straight
lift from Dehleez’s version by Mehdi Hasan, though R.D. Burman’s orchestration
gives it a distinct Bollywood flair. Dil Diya Dard Liya’s influence is clear in
the Thakur-haveli setup and the way the story pivots toward a happier
resolution.
The Good Stuff: Music, Cinematography, and Khanna’s
Charm-
Let’s talk about what works. First, the music. R.D.
Burman delivers a killer soundtrack that’s arguably the film’s biggest
strength. “Aaj Tu Gair Sahi” is soulful and haunting, with Kishore Kumar’s
voice carrying the emotional weight of Raju’s heartbreak. Another Kishore solo, "Dil kya chahe kaise boloon", is a lilting melody which lingers in your mind
long after its over. The duet, easily the most lovable track with the
infectious "Jhin Jhin Jhin JhinJjhin Tara" refrain , called "Tu Mera Kya Laage" has
an evergreen quality about it. Then there’s “O Sajna,” sung by Salma Agha
herself, which became a bit of a hit despite her vocal performance being more
earnest than polished. The songs don’t just complement the story; they are the
story’s heart, amplifying every tear-jerking moment in true Bollywood fashion.
The cinematography, by Anwar Siraj, is another
highlight. The film captures the grandeur of the Thakur’s estate and the stark
contrast of the dusty stables where Raju is banished. There’s a visual richness
that elevates the drama, even when the plot gets a bit predictable. The
staircase in Danny’s house apparently became a bit of a legend on set, with
multiple scenes shot around it—almost like it’s a character in its own right.
Rajesh Khanna, as Raju, is the film’s anchor. By
1985, Khanna was past his superstar peak, but he still brings that trademark
charisma and intensity. His scenes of quiet suffering and restrained anger are
pure Kaka magic, making you root for Raju even when the script doesn’t give him
much to work with. Danny Denzongpa, as the villainous Maan, is deliciously
hateful, channeling the spiteful energy of Wuthering Heights’ Hindley. Prem
Chopra, in a supporting role, adds his usual sleazy charm, and together, they
keep the drama ticking.
The Not-So-Good: Salma Agha and Plagiarism Woes-
Now, the rough patches. Salma Agha as Poonam is,
well, a mixed bag. Fresh off her success in Nikaah, she was a bold casting
choice, but it only works partly in favour of the film . It’s not that she’s
terrible—she’s got screen presence—but she struggles to match Khanna’s
emotional depth, making their romance feel a bit one-sided.
Then there’s the plagiarism issue. Oonche Log
doesn’t just borrow from Dehleez—it’s practically a carbon copy in parts, from
dialogue to framing. This rubbed some viewers the wrong way, with one IMDb
review calling it “badly copied” and pointing out that even the background
themes were lifted. In an era when Bollywood wasn’t shy about “inspiration,”
this felt particularly blatant, especially since Dehleez was a hit in Pakistan,
earning Diamond Jubilee status. The reliance on Dil Diya Dard Liya also makes
Oonche Log feel like a retread, lacking the fresh spin needed to stand out.
How It Stacks Up-
Compared to Dil Diya Dard Liya, Oonche Log is
tighter in pacing but less ambitious in scope. The 1966 film, despite being a
flop, had a stellar cast (Dilip Kumar, Waheeda Rehman, Pran) and Naushad’s
unforgettable music. It tried to grapple with Wuthering Heights’ darker themes
but stumbled by making the leads too noble, missing Brontë’s raw edge. Oonche
Log leans even harder into Bollywood’s comfort zone, with a more conventional
happy-ish ending that feels like a betrayal of the source material’s bleakness.
Dehleez, meanwhile, seems to have nailed the emotional intensity better,
judging by its critical and commercial success, but Oonche Log’s reliance on it
borders on lazy.
Final Thoughts-
Oonche Log is a curious creation. It’s got the
bones of Wuthering Heights—class conflict, doomed love, revenge—but it’s
dressed up in Bollywood’s flashy wardrobe, complete with catchy songs and
over-the-top villains. Rajesh Khanna and Danny Denzongpa shine, R.D. Burman’s
music is a winner, and the visuals are lush, but Salma Agha’s uneven
performance and the film’s unapologetic copying from Dehleez drag it down.
Still, its not a bad watch, especially if you’re a -Khanna fan or love ‘80s
Bollywood drama, but it doesn’t quite capture the wild, untamed spirit of
Brontë’s novel or even the ambition of Dil Diya Dard Liya.
If you’re curious about how Bollywood tackles a
literary classic, give it a spin for the music and Khanna’s charm.
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