Sourav Ganguly's Lord's Celebration Sparks Legal Battle: Delhi High Court Allows Doosra Screening with ₹2 Crore Guarantee

Sourav Ganguly's iconic shirt-waving celebration at Lord's on July 13, 2026, has become the centre of a legal dispute involving cricket history, personality rights and the Indian film industry. More than two decades after India defeated England in the NatWest Trophy final, the famous image is now at the heart of proceedings concerning the film Doosra: India's Other Freedom Struggle. On November 6, 2026, the Delhi High Court issued an important interim order. Justice Tejas Karia observed that the film prima facie appeared to commercially exploit Ganguly's identity and persona beyond the depiction of historical events. However, the court declined to stop its theatrical screening. Instead, the filmmakers were directed to display prominent disclaimers in Hindi and English at the beginning and end of the film and furnish an unconditional bank guarantee of ₹2 crore. The dispute highlights an important distinction: permission to use historical cricket footage does not necessarily settle questions concerning the commercial use of an identifiable player's personality. Ganguly and Luv Films LLP are challenging the film's alleged use of his name, image, achievements and recognisable cricketing moments. Their argument is that the promotional campaign and narrative could create the impression that Ganguly is associated with or has endorsed the film. The dispute also involves an agreement signed on August 5, 2026, under which Luv Films claims exclusive contractual rights to develop and commercially exploit audiovisual content based on Ganguly's personal and professional life. Its authorised biopic, Dada – The Sourav Ganguly Story, is scheduled for release on May 14, 2027. Luv Films says it has already made substantial investments in the project. The makers of Doosra maintain that their film is a fictional sports drama rather than an authorised biography of Ganguly. Directed by Abhinay Deo, the film follows Tara, a young woman from Rajasthan who draws inspiration from the former Indian captain's achievements. It features Plabita Borthakur, Ankur Vikal and Samidha Guru and was released theatrically on October 23, 2026. The filmmakers have argued that they obtained the necessary permissions from the Board of Control for Cricket in India and the England and Wales Cricket Board to use historical footage from the NatWest series. Their position is that match footage belongs to its relevant rights holders and that Ganguly cannot automatically claim ownership of the recording itself. Ganguly's side, however, draws a distinction between footage ownership and personality rights. A licence to reproduce a match does not necessarily authorise the commercial use of a player's name, likeness, distinctive identity or implied endorsement. That distinction is central to the case. The court's November 6 order reflects an attempt to balance competing interests. The film had already entered theatrical circulation, making an immediate shutdown commercially disruptive. At the same time, the court considered interim safeguards necessary while the legal dispute continues. The ₹2 crore guarantee and bilingual disclaimer should not be interpreted as a final judgment. The court's observations concern the interim application, and the final legal position remains subject to further proceedings. For the sports entertainment industry, the case carries implications beyond one film. Future producers may need separate clearance for archival footage, personality rights, biographical material, promotional use and contractual exclusivity. The amount of footage used, its narrative importance and its role in marketing may all influence the legal assessment. The larger challenge is balancing creative freedom with the commercial autonomy of athletes. A fictional film should retain room to draw inspiration from sporting history, but a production that depends heavily on a recognisable athlete's identity may face additional legal scrutiny. Ganguly's Lord's celebration began as a moment of sporting emotion. It has since become an independent cultural and commercial symbol. The next stage of this dispute may help define how Indian filmmakers use such moments and where the boundary lies between historical storytelling and commercial exploitation of an athlete's identity.