The Fascination of Double Roles in Bollywood Films: From Origins to Success Stories

The concept of double roles, also known as dual roles, has always fascinated film enthusiasts and Bollywood has successfully capitalized on this subject by featuring talented stars. Dual roles have consistently been a significant element in Bollywood, and filmmakers have frequently utilized them to create blockbuster movies. 

As we delve into the past, we uncover that the originator of the double role trend in Indian Cinema was Dadasaheb Phalke, often referred to as the Father of Indian Cinema. In 1917, Phalke cast Anna Salunke to portray a dual role in his film “Lanka Dahan,” marking the beginning of this trend. Other noteworthy films featuring double roles include “Patni Pratap” (1923), “Kashmiri Sundari” (1925), and “Awara Shahzada” (1932).

Kamal Amrohi, a renowned filmmaker, introduced a fresh cinematic genre centered around reincarnation following the phenomenal success of “Mahal” (1949), featuring Ashok Kumar. The film showcased double roles, with Madhubala and Ashok Kumar portraying characters separated in a past life and reborn in the present era. “Mahal” achieved the remarkable feat of celebrating its Golden Jubilee, and it pushed Lata Mangeshkar to stardom, courtesy of the film’s immensely popular song, “Aayega Aanewala.”

The success of the movie opened a floodgate of double-role films based on the theme of reincarnation like Bimal Roy’s Madhumati starring Dilip Kumar and Vyjayanthimala, Neel Kamal (Raaj 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 Shahrukh Khan, Om Shanti Om (Shahrukh Khan and Deepika Padukone and the latest Raabta (Sushant Singh Rajput and Kriti Sanon), etc the list is long.

The double role became a permanent feature in commercial Bollywood films after the release of Kismet  (1943). Filmmaker Gyan Mukherjee of Bombay Talkies introduced the concept of lost and found identical brothers, which became a major success in the 1960s and 1970s. Films like Waqt (1965), Yaadon Ki Baaraat  (1973), Amar Akbar Anthony (1977), Dharam Veer (1978), and Fakira (1976) further popularized this formula.

Kismet was India’s first “Masala” entertainment film, blending elements of crime, love, and patriotism. It starred Ashok Kumar, India’s first official star, in a double role. This film catalyzed experimenting with double roles on screen. In subsequent years, actors like Nargis, Dilip Kumar, Jeetendra, Anil Kapoor, Hema Malini, and Sridevi portrayed double roles in various successful films, leading to the repetition of the plot with different twists and variations.

In 1962, filmmaker Shakti Samanta wrote a unique script for the film “China Town,” featuring Shammi Kapoor in a double role as two identical brothers, one good and the other evil. This concept of good versus evil double roles has been rehashed in several successful films, such as “Kalicharan” (1976), “Don” (1978), “Duplicate” (1998), “Don” (2006), and “Rowdy Rathore” (2012). Amitabh Bachchan also portrayed similar double roles in movies like “Kasme Vaade” (1978), “Satte Pe Satta,” “Bemisal,” and “Bade Miyan Chote Miyan,” while other actors like  Rajesh Khanna, Rajendra Kumar, Sunil Dutt, Jeetendra, Anil Kapoor, Dilip Kumar, Rajinikanth, Sanjeev Kumar, Aamir Khan, Naseeruddin Shah,  Keith Stevenson, and Anupam Kher have also taken on similar roles in various films.

Dilip Kumar‘s exceptional portrayal of a double role in Ram Aur Shyam (1967) established him as India’s first superstar and inspired many similar hits. The concept of two brothers, one bold and one shy, lost and found in the climax, became a favorite among filmmakers. This plot was repeated in films such as Jaise Ko Taisa (1973), Kishen Kanhaiya (1990), Seeta Aur Geeta (1972), and Chaalbaaz  (1989).

After the success of Ram Aur Shyam, Dilip Kumar did a triple role in the film Bairaag (1976). In this film, he played a father and son. The idea of father and son became a hit and Amitabh Bachchan played quite many roles in this pattern like Adalat (1976), Desh Premee (1982), Aakhree Raasta (1986), and Sooryavansham (1999). In fact, like Dilip Kumar, even Amitabh Bachchan attempted a triple role in Mahaan (1983) but tragically the film was a big flop despite a good performance by Amitabh Bachchan.

Interestingly father-son formula was a great success for the struggling actor Rajesh Khanna, who became an instant Superstar after Aradhana (1969). In this film, he played two roles. In the first half, he is a pilot but dies and in the second half, Rajesh Khanna again appears on the screen as his son. Similarly, in Samadhi (1972), Dharmendra played a dacoit Lakhan Singh in the first half who accidentally kills the son of Zamindaar and to solace Zamindaar’s grieving wife he gives away his son to Zamindaar. In the second half, Dharmendra played the dual role of an educated gentleman as his son Ajay.

Sanjeev Kumar was another great actor who did many father-son roles in films like Vishwasghaat (1977), Biwi-O-Biwi (1981), etc. Raaj Kumar in Karmayogi (1978), Rajesh Khanna in Dharam Aur Kanoon (1984), Jeetendra in Justice Chowdary (1982) and Pyaasa Sawan (1981), Kamal Haasan in Indian (1996), Anil Kapoor in Bulandi ( 2000) and Hrithik Roshan in Krrish ( 2006).Like the male, even female stars played a dual role as mother and daughter but the formula was not a big success.

Rajesh Khanna became a superstar with the father-son formula in “Aradhana” (1969), where he played two roles. Other actors like Dharmendra, Sanjeev Kumar, Raaj Kumar,  Jeetendra, Kamal Haasan, Anil Kapoor, and Hrithik Roshan have also taken on father-son roles in various films.

Female stars have also played dual roles as mother and daughter, but this formula didn’t succeed significantly. Suchitra Sen was the first actress to do so in ” Mamta” (1966), followed by Sharmila Tagore in “Mausam” (1975), Sridevi in “Lamhe” (1991), and “Khuda Gawah” (1992), and Madhuri Dixit in “Sangeet” (1992), which unfortunately turned out to be a box office flop.

The concept of double roles originated from the brilliant English playwright William Shakespeare, who introduced it in his play “Comedy of Errors.” This idea of mistaken identities and look-alike characters was a hit and inspired Bollywood films like “Do Dooni Chaar” (1968) produced by Bimal Roy which starred Kishore Kumar and Asit Sen and its remake “Angoor” (1982) made by Gulzar. However, one of the most applauded movies in this genre was Amol Palekar‘s “Gol Maal” (1979), where the protagonist pretends to have a double role, leading to hilarious confusion.

Another comedic twist comes from male actors disguising themselves as ladies. Mehmood played a lady in films like ” Dil Tera Diwana” (1962) and “Johar Mehmood in Hong Kong” (1971), while Kamal Haasan‘s portrayal of a middle-aged Maharashtrian lady in “Chachi 420” (1997) was a super hit. Govinda also attempted a similar role in ” Aunty No. 1” (1998), but the film didn’t fare well.

Raj Khosla, a renowned director and assistant of Guru Dutt, created horror-musical thrillers like “Woh Kaun Thi?” (1964), “Mera Saaya” (1966), and “Anita” (1967), featuring heroines in double roles. Madhuri Dixit also portrayed a female version of the disguise concept in “Dil Tera Aashiq” (1993), and Lalita Pawar did a similar role in “Tumse Achha Kaun Hai” (1969).

The concept of double roles in Bollywood has captivated audiences for decades, with filmmakers successfully incorporating it into various genres and storylines. From the early days of Dadasaheb Phalke to the golden era of Dilip Kumar and Rajesh Khanna, and the contemporary films featuring stars like Shahrukh Khan and Hrithik Roshan, dual roles have remained a significant element of Indian cinema.

Whether it is the theme of reincarnation, the portrayal of lost and found siblings, the clash between good and evil, or the comedic twists of mistaken identities, Bollywood has explored the concept with creativity and flair. While some formulas have yielded great success, others have faced mixed fortunes at the box office. Nonetheless, the enduring appeal of double roles in Bollywood continues to inspire filmmakers and entertain audiences with its magic and versatility, leaving a lasting imprint on the industry’s cinematic legacy.