‘Salim-Javed were not writers, they only copied from other films,’ says FIR writer Amit Aaryan

admin August 29, 2023

In a statement that has sparked a major controversy in Bollywood, Amit Aaryan, a well-known writer from the popular television show FIR, has taken a bold stand by questioning the originality of one of the most iconic screenwriting duos in Indian cinema—Salim-Javed. In a recent interview, Aaryan remarked, “Salim-Javed were not writers, they only copied from other films,” which has sent shockwaves through the film fraternity and cinephiles alike. This statement directly challenges the monumental legacy of Salim Khan and Javed Akhtar, the writing team behind some of the most successful and celebrated films in Bollywood history, such as Sholay (1975), Deewaar (1975), Don (1978), and Zanjeer (1973). The duo, who pioneered the “angry young man” narrative in Indian cinema, are often credited with transforming the way films were written and perceived in Bollywood during the 1970s and 1980s. Amit Aaryan’s accusation, which questions the authenticity of their work, has led to a heated debate, with both supporters and critics weighing in on the issue. This article delves deep into the controversy, exploring the history of Salim-Javed’s partnership, Amit Aaryan’s stance, and the broader implications of such a statement on the Indian film industry. Before dissecting Aaryan’s claims, it is essential to understand the massive influence that Salim Khan and Javed Akhtar have had on Indian cinema. As a screenwriting duo, they are credited with creating stories and characters that are etched in the hearts of millions. Their collaboration gave birth to some of the most iconic films of the 1970s and 1980s, which not only changed the face of Hindi cinema but also laid the foundation for the careers of some of Bollywood’s biggest stars, particularly Amitabh Bachchan. Their scripts often featured strong male protagonists, typically an “angry young man” fighting against the social injustices of the time. Films like Zanjeer and Deewaar revolutionized the concept of heroism in Bollywood, moving away from the romantic and idealistic heroes of the past to flawed, emotionally complex characters. In many ways, Salim-Javed redefined the structure of Bollywood films, creating narratives that blended commercial appeal with social commentary. They are often seen as the architects behind Amitabh Bachchan’s rise to superstardom, as their scripts provided the perfect platform for him to showcase his intensity and range. The statement by Amit Aaryan has raised eyebrows not only because of its audacity but also due to the fact that it challenges the untouchable stature of Salim-Javed in Bollywood. Aaryan’s primary contention is that Salim-Javed were not original creators, but instead, they borrowed heavily from Western films, both in terms of plotlines and character arcs. In the interview, Aaryan said, “If you look closely at many of Salim-Javed’s scripts, you will see that they are heavily inspired by foreign films. For example, Sholay, which is considered their magnum opus, takes a lot from classic Westerns like The Magnificent Seven (1960) and Once Upon a Time in the West (1968). They were brilliant at adapting and localizing stories, but the claim that they were revolutionary writers is exaggerated. They were essentially borrowing ideas and modifying them for the Indian audience.” Aaryan’s argument isn’t entirely new, as there have been murmurs over the years about Salim-Javed drawing inspiration from Hollywood. However, no one in the industry had openly criticized them in such a blunt manner until now. By alleging that they copied their ideas from other films, Aaryan is attacking the core of their legacy.

The question of originality in cinema is an age-old debate, especially in an industry like Bollywood, which has historically been influenced by various global trends. It’s true that films like Sholay borrowed elements from Hollywood’s Westerns and spaghetti Western genres, and that Deewaar had shades of films like On the Waterfront (1954). However, critics argue that borrowing themes or being inspired by foreign films is not the same as outright plagiarism. Salim-Javed are often credited with localizing these global influences in a way that spoke to the socio-political climate of India. For instance, while Sholay took inspiration from Western films, its characters, setting, and themes were deeply rooted in Indian culture and traditions. The film’s exploration of loyalty, revenge, and friendship was something that resonated with Indian audiences on a much deeper level than a direct copy ever could. Moreover, Salim-Javed’s ability to create strong, relatable characters—be it Vijay from Deewaar or Gabbar Singh from Sholay—is considered by many to be unparalleled in Bollywood. Their contribution to the art of character-driven storytelling and the “angry young man” phenomenon can hardly be dismissed as simple copying. The film industry’s response to Aaryan’s comments has been swift and divided. While many have rushed to defend Salim-Javed, calling their work visionary and dismissing Aaryan’s allegations, others have pointed out that Bollywood has long struggled with the question of originality, and perhaps it is time to acknowledge that influence from foreign films is a reality that cannot be ignored. Javed Akhtar, now a celebrated lyricist and poet, has yet to publicly respond to the controversy, but those close to him have expressed disappointment at Aaryan’s remarks. One industry insider said, “It’s easy to criticize legends, but to reach the level that Salim-Javed did, you need more than just borrowed ideas. They created characters and stories that are still relevant today. That speaks volumes about their originality and talent.” On the other hand, some writers and critics have shown support for Aaryan’s claim, albeit in a more measured tone. Film historian Ravi Mishra remarked, “Yes, there’s no denying that Salim-Javed were influenced by Western films, but so was most of Bollywood during that time. It was a period of cinematic exchange. The brilliance lies in how they adapted those ideas to the Indian context.” Amit Aaryan’s statement raises a bigger question about creativity and originality in filmmaking. In an industry that thrives on remakes, sequels, and adaptations, is it fair to criticize writers for drawing inspiration from other sources? Filmmaking, like any other art form, is built on the sharing of ideas and the evolution of storytelling.