Sourav Ganguly vs Doosra: Why the former India captain approached Delhi HC over his portrayal in the film | Explained

Former India cricket captain Sourav Ganguly has approached the Delhi High Court over the recently released film Doosra, alleging that the makers have used his identity, personal history and significant moments from his cricketing career without his consent.

Why has Sourav Ganguly approached the court?

The dispute is not simply about a film drawing inspiration from a famous cricketer. It also involves a separate agreement under which Ganguly had granted production house Luv Films rights to develop a feature film based on his life.

Ganguly and Luv Films have filed a lawsuit against the makers of Doosra, arguing that the sports drama commercially exploits his personality and professional achievements.

Their objection particularly concerns the film's references to the historic 2002 NatWest Series, including moments associated with Ganguly's captaincy.

The case has now reached an important stage, with the Delhi High Court asking Ganguly's legal team to identify exactly which portions of the film they consider objectionable. The court has indicated that it cannot simply consider blocking an entire film without examining the specific allegations and hearing both sides.

More about the dispute

The dispute centres on Ganguly's personality rights and an agreement he entered into with Luv Films on 5 August, 2021. The production house, which is developing a biographical film on the former cricketer titled Dada, claims to have secured exclusive global audiovisual rights to bring his life story on the big screen.

The agreement reportedly covers elements including Ganguly's name, likeness, voice, personality and significant events from his life. Luv Films has argued that Doosra infringes upon the contractual rights it acquired through this arrangement.

Ganguly's objection is that the film has used aspects of his life and cricketing achievements without obtaining his permission. His legal team has particularly pointed to the 2002 NatWest Series, one of the most memorable chapters of his career as India's captain.

The famous final at Lord's, where India chased down England's target to win the tournament, remains closely associated with Ganguly. His shirtless celebration on the Lord's balcony after the victory became one of the most widely remembered images in Indian cricket.

During the court proceedings, Ganguly's counsel argued that the film's second half focuses heavily on the NatWest match and that his image has been exploited without consent. The legal team also maintained that the use of these recognisable moments raises questions about the commercial exploitation of his identity.

The lawsuit therefore involves two connected concerns: Ganguly's claim that his personality rights have been violated and Luv Films' argument that the film interferes with the rights granted to it under the agreement to make an authorised biographical film.

What have the makers of Doosra said in their defence?

The filmmakers have denied that Doosra is a biographical film about Ganguly or that it commercially exploits his personality. Their position is that the sports drama tells the fictional story of Tara, a middle-class young woman from Rajasthan who challenges social expectations and draws inspiration from significant moments in Indian cricket.

According to the filmmakers, Ganguly is a source of inspiration for the central character rather than the subject of the film. They have also argued that they obtained the necessary permissions from the relevant copyright holders to use cricket footage.

During the proceedings, the filmmakers' legal team maintained that permissions had been obtained from the Board of Control for Cricket in India (BCCI), the England and Wales Cricket Board (ECB) and the producer of a documentary relating to Ganguly for the footage and material used in the film.

The distinction is important because the filmmakers are essentially arguing that using footage from a cricket match with the necessary copyright permissions is different from commercially exploiting Ganguly's personality without his consent.

What has the Delhi High Court said?

The Delhi High Court has so far declined to stop the film's theatrical release. On 22 October, the court refused Ganguly's initial request to prevent Doosra from reaching cinemas. The following day, it sought a response from the filmmakers and directed them to arrange a screening of the film.

During the 29 October hearing, Justice Tejas Karia asked Ganguly's legal team to provide a detailed list of the scenes it considers objectionable, along with their exact timestamps and reasons for the objections.

The court also asked the filmmakers to submit a pen drive containing the film so that it could examine the disputed portions. It sought the manuscript of Luv Films' proposed biopic, Dada, in a sealed envelope to understand the contractual rights being claimed by the production house.

The court questioned whether the entire film needed to be blocked when the allegations could potentially concern only certain portions.

It also suggested possible alternatives to stopping the film altogether. These included the filmmakers obtaining a licence for the disputed material, deleting or muting specific scenes and dialogues, or adding a disclaimer at the beginning of the film.

The court has not yet ruled on whether Ganguly's personality rights or Luv Films' contractual rights have been violated. It has asked the parties to provide more specific material before considering what relief, if any, should be granted.

The matter is scheduled to be heard again on November 2, after the court examines the film and the objections submitted by Ganguly's side.

What is Doosra about?

Titled Doosra: India's Other Freedom Struggle, the film is directed by Abhinay Deo and stars Plabita Borthakur, Ankur Vikal and Samidha Guru.

The sports drama follows a fictional middle-class girl from Rajasthan whose life is influenced by Indian cricket and the events surrounding Ganguly's career. The film uses cricket as part of a larger narrative about a woman challenging social expectations.

It is this connection between a fictional story and real-life sporting events that has become central to the legal dispute.

For now, the Delhi High Court has not ordered the film to be withdrawn from theatres. However, its next hearing could be important in determining whether specific scenes need to be changed, removed or accompanied by a disclaimer before the film reaches streaming platforms.

About the Author

Trisha Bhattacharya is a Senior Content Producer at Livemint, with over two years of experience covering entertainment news from India and beyond. She spends her days tracking what’s trending, breaking down pop culture moments, and turning fast-moving entertainment stories into sharp, engaging reads that actually make people want to click — and stay. <br> She holds a Master’s degree in English Literature from Lucknow University, a background that shapes her love for layered narratives, strong voices, and stories that linger long after they’re told. Before joining Livemint, Trisha worked with India Today as an entertainment journalist and film critic. There, she reviewed films, covered industry news, and built a strong foundation in storytelling and cultural analysis. <br> Trisha enjoys working at the intersection of media, culture, and audience interest, always looking for fresh angles and formats. Films, shows, and music are not just her beat but her biggest passion — something that naturally reflects in her writing. Whether it’s cinema, streaming shows, music, or internet trends, she approaches every story with curiosity and intent. <br> Outside the job description, she’s unapologetically passionate about films, shows, and music — sometimes a little too passionate, if you ask her. That enthusiasm often spills into her work, adding personality, urgency, and a touch of chaos that keeps her writing alive. For Trisha, entertainment isn’t just a beat — it’s a language she speaks fluently.