We have gravitated from investing in writers to worrying about reviewers on social media

A recent OTT series based on the legendary duo Salim Javed narrated how they brought visibility to writers in the Hindi film industry. We have had generations of brilliant screenwriters, but Salim Khan and Javed Akhtar drew a non-negotiable boundary when it came to remuneration, credit and visibility. For the first time in cinematic history, their names began to appear on posters, and they were paid sums on par with some of the biggest stars of that era. The result? They delivered some of the best written films of the 70s and the 80s, including Don, Deewar, Sholay, Trishul, Shakti and counting. Today, it will be hard to find even one film in recent memory that matches the gravitas and resonance of these scripts. This is because somehow, we have gravitated from investing in writers to worrying about reviewers on social media.

 

We have gravitated from investing in writers to worrying about reviewers on social media

 

Let me give you another example of what investing in good writing can do. When Manmohan Desai approached writer and actor Kader Khan to write the dialogues of Roti (1973), he paid him an unheard sum of Rs 1,21,000! Kader Khan then went on to pen blockbusters like Amar Akbar Anthony, Muqaddar Ka Sikandar, Yaarana, Khel Khel Mein, Rafoo Chakkar, Lawaaris, Parvarish, Namak Halal, Coolie, Qurbani and many more. At the risk of sounding repetitive, let me once again say that we will be hard-pressed to find a writer with a similar success streak today. It is not because there is a dearth of writing talent. It is because writers do not get the credit and financial support they deserve, even though they lay the foundation for a successful project.

 

I am often asked to explain the low number of box office hits in 2024 and this year, and I have a long explanation to offer. Amid bloated budgets to accommodate star fees, entourage expenses and other unavoidable production costs, the writer's contribution is often overlooked. When I made Chehre, I brought on board veteran theatre exponent and dialogue writer Ranjit Kapoor. He has written for films like Kabhi Haan Kabhi Naa, Lajja, The Legend of Bhagat Singh and many more and his experience shone through every scene of Chehre.  In my Gujarati and Marathi productions as well, I strive to focus on a strong story, and I hope to continue promoting good writing through my productions.

 

The success of even small budget films like Laapataa Ladies, The Great Indian Kitchen, Manjummel Boys, Premalu and Amaran over the last few years proves that well-told stories are at the heart of memorable cinema. Even the most lavishly mounted films can fail without a good script. Post the pandemic, audiences will not stir out of their homes unless they know that a film is worth their time and money. Yes, there is a space for huge blockbusters, but remember also that in every era, we have had larger-than-life films along with emotionally rich narratives from makers like Raj Kapoor, Guru Dutt, Bimal Roy, Hrishikesh Mukherjee and many more. Would we need a reviewer to tell us today if their films have any merit? We won't because those stories are etched in our minds and hearts.

 

Good cinema comes from conviction and we need to make films with the passion of master storytellers like Manmohan Desai, Prakash Mehra, Vijay Anand and Raj Khosla. Last year, at the Cannes festival, Shyam Benegal's Manthan was showcased. This year, Satyajit Ray's 1970 classic Aranyer Din Ratri will be screened for the first time at the Cannes. Why are these films being celebrated globally today? Because their craft and their stories have stood the test of time.

 

As far as the future of the Hindi film industry is concerned, just one big hit will change the narrative from negative to positive. But in order to achieve consistent success, we definitely should take proactive steps like smarter budgeting, expanding talent pools and, as I said before, investing in writers.  Oftentimes, writers have no protections when their ideas and scripts are lifted. These unethical practices must stop as well, and due credit and respect must be accorded where they are due. Instead of making remakes, let us dig deep to find original stories and make cinema that will be remembered fondly by future generations.

 

Also Read: Anand Pandit observes, “Today we are missing out on emotional connection with the audiences”

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